The History of Coventry Folk Clubs - Part 4 The Grange

This is the final and fourth part of Pete Willow's articles of the History of Coventry Folk Clubs from the early 60's to 1978 from his Coventry Folk magazine 'Folks'. This part takes a look at the Grange Folk & Workshop at the GEC Stoke Works, Coventry.


Part 4 - The Former Glory of the Grange by Pete Willow 1979

The Grange Folk Club, GEC Stoke Coventry

As in many towns and cities in Britain, although the main purpose of most of Coventry's folk clubs over the last 15 years has been to entertain the general public, some have become meeting places for local musicians to try out new ideas or to make departures from the type of music they generally play. The development of such workshops plays an important part in the bringing together of the local folk music scene: new faces emerge, solo musicians start jamming together and become duos or bands, new songs are written or old ones rediscovered and non musicians themselves being less detached from the performers.

The longest running venue for such get togethers in Coventry is the Old Dyers Arms in Spon end. I stated in an earlier article that this began in 1966, as the Coventry Folk Workshop, organised by John Lake and involving folk singing, guitar workshops, the production of a magazine etc. (I've since heard reports that folk singing has been a tradition at the Dyers since the 1950's, although no details are available as to who was involved or whether it was the result of organisation or spontaneity brought about by a few bevvies!).

The Grange after it was set on fire in 2011

Other clubs currently in operation that are run on a  similar basis include Folk at the Pitts (although guests are booked and a nominal admission is charged), the Malt Shovel and the Grange, reopened since the last issue of this magazine. It's the Grange, that is the GEC apprentice's club, that I shall write about in more detail here.

This club has had a long succession of hosts and organisers and has recently been the subject of such a discussion over a possible return to its former glory among certain members of the folk fraternity. hence its reopening, although at present it lacks the kind of enthusiasm that lifelong supporters of the club may recall from the past. Some may feel that the constant, seemingly uphill struggle to keep the club going at all is a waste of time and effort, a fruitless attempt to relive the days of past successes, an exercise in unadulterated nostalgia. Others may argue that as long as the venue is available it should be used, as the club provides an essential part of the development of 'Workshop folk' in the city. To a certain extent I agree with the latter argument although, putting things in perspective  a 'good night' will be a variety of artists (residents of the grange or otherwise), a 'bad' night will be a get together and a chat for a few friends. It's the sort of place (I think) where it doesn't matter too much if its not packed every week - as long as residents open the doors, its a place to go and if live music is going to be played there, so much the better. The potential for a good atmosphere is enormous; a basement room with subdued lighting, a reasonably well stocked bar, free admission and , all in all, reminiscent to the more romantically minded of what the 1930's jazz clubs of Paris could have been like, tres elite and why not?

Arial view of the Grange

So much for potential. actually, since reopening in early April, the club has been regularly supported by only a handful of singers: Mick Stuart,, Dave Coburn and Pete Willow, with visits from from Rod Felton and Tim Crowe plus floor spots from a couple of the residents. Nobody really hosts it, no guests are booked but the few residents who attend every week (along with familiar faces from certain other clubs provide an attentive and generally appreciative audience. Once or twice the place has been quite crowded as ex-residents pay an occasional visit to the club, to relive, presumably, a little of the nostalgia shared by some of the singers.

So what were 'the good old days' of the Grange? Well, as with all things we look back on, it seems in retrospect to have been a more glorious club than was probably appreciated at the time; there have been the traumatic experiences and bad vibes, but these paled beside the really excellent nights of music that used to occur. The club was officially formed in 1969, hosted then by Dave Sampson, who later hosted the Wurzel Bush Folk Club at the Fletch. Dave tells me that even before then, there were private guitar sessions in that room. regular singers who frequented the Grange during its early years included Barry Skinner, Sean Cannon, Rob Armstrong, Magic Rantabout, Rod Felton and Billy Davoren and Dave Sampson himself who remained a regular supporter of the club for many years.

In 1974 the host was John Drittler. By the beginning of 1975 he had a thriving club on his hands with the informality of a workshop but with an impressive line up of guests, some local  some professionally famous. These included Jamie Lord (30th Jan) Dave Cooper (13th March), Dave Hardy (27th March), Steve Knightly (17th April) Pete and Sheila Rigg (1st May), Martin Jenkins (8th may) and Mick Stuart (19th June). On the 22nd May, John was rash enough to give Den Clarke and myself (Pete Willow) our first appearance as a duo called Freshwater - one of the early appearances of Bull's Head Folk organiser Jayne Smith, accompanied by Lesley, another fine singer from Rugby.

John paid guests by organising a weekly collection from the audience which generally large enough to keep funds stable. In June, he asked me to take over the role of host for a short while and I kept the club running on the same basis, booking Pete Smale as guest on July 3rd and John Shanahan on the 10th. The club then closed for the summer holidays, after which re-negotiations took place (as they did every year) between the supporters of the club and the new set of residents in order to keep going for another year.

I'd better explain here that one of the difficulties arising from the perpetuation of the Grange Folk Club is that it is run at the discretion of the residents of the Grange itself, and that arguments for and against the club's existence could come respectively from the GEC apprentices' bar committee and other residents who may be concerned that any misconduct of non-residents could jeopardise a peaceful existence for everyone living there. It is a private club and up until last year (1978) any non-resident whether he be host, singer, guest artist or member of the audience, had to be signed in by a member. Although the practice has been dropped for the time being, it is still not possible for the club to be advertised, say, in the Coventry Evening Telegraph and the amazing thing about the club's heyday was that everyone who came (and many did!) had only heard of the place by word of mouth.

The Grange reopened in October 1975 as a singers club and in 1976 more guests and featured artists appeared. Although up until this time the club had, for its regular supporters, become compulsive visiting, with excellent music and very few duff nights, 1976 was probably the club's finest year, with music provided by some of the best of local acts, including the Grunt band, Dave Bennett, Pete and Sheila Rigg, Martin Jenkins, Dave Cooper, and newcomers for those who hadn't been in Coventry when Dando Shaft were going strong, Kevin Dempsey and Polly Boulton. Kev made his first appearance at the Grange with Dave Cooper and Martin Jenkins, May that year and returned in June with Polly to provide a memorable evening of first class music. Details of these sessions are given in a Magic Lamp Folk Club Handout, reprinted in Folks magazine.

From the end of 1976 to early 1977, the club was hosted by Neil Carpenter, new social secretary at one of the halls of Nottingham University. His successor the following year was Dave Bottom. Both kept the club going as a popular singers' venue; Neil providing a variety of numerous songs and Idi Amin impersonations and Dave demonstrating his experience on the Newcastle Brown bottle which he banged loudly on the table whenever order was required. By summer of 1978 however the club was showing signs of decline as support dropped. Dave wasn't always able to attend the club as he had other commitments and for a short period of time the venue was closed anyway for rewiring. Once re-opened it was difficult for the word to get round and consequently audiences got smaller.

Apart from the obvious advantages of a folk workshop, enabling musicians to get together and try out new material or arrangements, many singers also found themselves booked to appear at,or support,special concerts organised by residents or ex-residents, as a result of their appearing regularly at the club. It's probably fair to say that many of the apprentices over the years developed a new interest in folk music from visiting the club regularly.many singers would test new songs against the reaction of the Grange audience before singing them in other places. In all, the club fulfilled its purpose (unspecified as it was) as a workshop and friendly gathering of folkies. Whether it will regain the old 'Paris Jazz Club' atmosphere remains to be seen although it would have to become a regular haunt of more local musicians for this to happen. So if any ghosts of the Grange's past are reading this, come and haunt the place again and bring a good few spirits with you.

Footnote.
Shortly before this went to print, there was a real danger that the Grange Folk Club would have to close again due to people (not regular club supporters) turning up late under the impression they would be able to obtain late drinks. As with any folk club held mid-week in a pub, the bar closes at 10.30pm prompt. The club does have the support of a large number of apprentices, who are anxious that it doesn't close down. Any musicians who want to attend, please arrive by 8.30pm so that a decent night's entertainment can take place.

Pete Willow May 1979.

Here is some additional information on the Grange from Orange Brown via a comment on here -

"The Grange Folk Club was certainly operating in 1967 in the Cellar Bar of the GEC Apprentices' residence - the atmosphere is clearly shown in the excellent black & white heading photo (taken a couple of years later I think). The apprentices were accommodated in the first and second floors of The Grange, and the ground floor was the GEC Executive Dining Room. The Cellar Bar was run by and for the apprentices as a place where newcomers to the delights of alcohol could safely sample a pint of Tartan at one shilling and tenpence a go. This was under the benevolent and largely distant eye of Mr Smith (aka Turgid) who was employed by GEC as a trainer and resided at the Lodge at the entrance gateway.
In 1967 the folk nights were impromptu affairs with no bookings or organisation - I think one of the residents had a guitar and brought it down. Folk songs featured in the Charts at that time so we joined in the choruses. Other apprentices with 'attachments' in Coventry would bring girlfriends to the bar in the evenings. So the word spread and a few more singers and players would turn up - some were 'family' others as guests. Rod Felton was a memorable feature of some of these earlier evenings. I also recall the stunning voice of Barbara Gibbs (later Payne - aka Marie Duboch). Dave Sampson arrived as a new apprentice a year or two later, performing covers of 'Ave You Got A Loite, Boy?' and others from the Singing Postman, accompanied by his guitar with 'the extra sound hole'. We were all much impressed by his subsequent career running folk clubs outside the City.
For some reason I think the Grange folk nights were on Tuesdays, but maybe not. Resident apprentices would arrive down the internal staircase, others via the steps by the front door. I seem to recall a small entrance fee for guests who would sign the guest book held by the duty barman - apprentice Chris Mitchell was one of the willing volunteers.
These evenings encouraged outings to other venues - the City Arms in Earlsdon, the Admiral Codrington's Irish nights and the Kenilworth Folk Club to name just a few."
Brief History of The Grange.
Originally the home of wealthy ribbon manufacturer James Hart, the property, along with its parkland, was bought by GEC (the English Electric Company) in 1921 as part of its huge telephone works factory in Coventry.

Read More http://www.coventrytelegraph.net/news/yourspace/2011/02/21/your-nostalgia-dad-and-his-pal-were-fined-10-over-race-to-get-to-the-grange-92746-28207866/#ixzz2AQz6ddmC

Black Parrot Seaside

Black Parrot Seaside 

I Am a Vacuum Cleaner - John Peel's favourite Black Parrot Seaside track

"Black Parrot Seaside began in Richmond Street in Coventry where a few members taped an extremely silly version of Marc Boland's Telegram Sam called Baggy Leaf Dwarf. The original line up consisted of drums, bass, lead, keyboards and two vocalists."


"Influences - Alex Harvey, Bonzos, Edgar Broughton, Heavy Metal Kids and Monty Python. Many line up changes (see below) and at the time of the recording the band moved from Rock to Folk. but the stage act remained out of the ordinary. It featured seashanties, monologues, Marston's Bitter, Rolf Harris impersonations, and much more."

Black Parrot Seaside are still performing after 38 years according to Geoff Veasey, who contacted me.

More on the Hobo - Coventry Bands from the 1960's to Now - here https://coventrybands.blogspot.com/2022/10/black-parrot-seaside.html

A Band Called George - Single NCB Man 1974

A Band Called George 1973

A Band Called George
Rock / Acoustic / Comedy

were formed in 1973 by Bob and Colin Young and managed by the Coventry Sunshine Music Agency in Gulson Road, recorded a single called NCB on the Bell label.

They were a Coventry folk rock comedy recording band.



The band consisted of -
Roger Prince, Guitar, blues harp, Mandolin, Barley wine and vox
Colin Young, Bass, Hilariously funny cigarettes and Vox,
Bob Young, Guitar, Kazoo, keyboards, Bikers Grog (Light Ale with a Barley Wine in it. Quite lethal in the wrong hands) and Vox 

Basil Stephan Andruzko, on double meat pie and chips,who, was said by some to have played Bass and Accordion as well. He also sang. "Ahhhgh the pain".

Harry Heppingstall on drums. Replaced after the single NCB Man was released by  Nick Trevisick.

Roadies - Ricky and Dave

NCB MAN

JACK TAR

Here there music including their 1973 single NCB Man on My Space and a second

My Space HERE
Tracks - NCB Man / One More Brew / A Wonderful way to Die / Sing me Softly

Came out of Heavy rock band Sweeny Todd

Were planning a tour of Germany late August 73. Joe Reynolds (joined a reformed version of the band in

1974)

Original material in similar vein to Lindisfarne. Members from Coventry and Leamington area.

According to HOBO the BBC did not select the single, NCB Man, for airplay and this led to the band’s demise. CET described the song as a ‘ light hearted song about coal miners’

Appeared on Midland’s Today. (CET) ‘It’s a fun folk rock song, not quite representative of the band live’

Managed by Sunshine Agency (SAM) (Managers Craig Ward & Graham Wood). Sunshine Agency was set up to record Bob Young’s songs.

Single:

NCB Man (on Bell Records) released 24th August 1973.


The first line up of A Band Called George consisted of Roger Prince, Guitar, blues harp, Mandolin,

Barley winend Vox, Colin Young, Bass, Hilariously funny cigarettes and Vox, Bob Young, Guitar, Kazoo, keyboards, Bikers Grog (Light Ale with a Barley Wine in it. Quite lethal in the wrong hands) and Vox, Basil Stephan Andruzko, on double meat pie and chips, who, was said by some to have played Bass and Accordion as well. He also sang. "Ahhhgh the pain". Harry Heppingstall on drums.

A single NCB Man was released in 1973 on Bell Records published Island Music.

Harry was replaced by Nick Trevisick shortly after the single was released. We were all replaced by the Branch manager of the Midland Bank when the overdraft became due. Although He allegedly had a very fine tenor voice we believe he remains unsigned

Trev Teasdel remembers -
I met A Band Called George at the Sunshine Music Agency in Gulson Rd. Coventry in 1973 when I

breezed in to introduce myself and Hobo Magazine. Bob Young was one of the managers and there's quite a bit about Sunshine Music Agency on the Hobo Discos and venues blog. Previously some of the members had been in Sweeny Todd (I remember seeing them in the early 70's at the Colin Campbell. Baz Andruszko later played with the reformed Dando Shaft for a while. Nicky Trevisthick was the only one I knew previously - I'd met him at the Lanch and other places. According to Kevin Harrison he went on to play with American Housewives / Café Society / Tom Robinson Band / Moon / The Dukes. Bob Young has a My Space for A Band Called George which you can access at the top of this post.

In their My Space blog they say -


"A Band Called George came out of Sweeny Todd - Sweeney Todd was formed by Brothers Bob and Colin Young in Leamington Spa Warwickshire England in late 1969 early 1970. We got the idea and name Sweeney Todd from the 30s film, starring Todd Slaughter (what a name eh!!)The first lineup of Sweeney Todd consisted of My self (Bob Young) on lead Vox and guitar, Colin on Guitar and backing Vox, John Cirriani on bass and backing Vox and a drummer from Sunderland whose name I'm afraid I cant remember. (If any body remembers him please drop me a line.) Sweeney Todd used to rehearse in St Paul's church hall on Friars St Warwick just up the road from The Seven Stars Pub.( I apologize to the neighbours ).

By now the line up of Sweeney Todd consisted of Me on guitar, and kazoo, Colin on Bass, Roger

Prince on guitar, harmonica, and mandolin, Fat Bas on accordion and I think Harry Heppingstall on drums. The name Sweeney Todd didn't seem to fit what we were doing we weren't a heavy rock band any more. So in a drunken stupor we decided to change the name Sweeney Todd to something more suitable..Some one produced a matchbox, one of those with the little sayings and proverbs on the back, this one was about a young lady trying to find a name for her baby she said to her husband that she would like to call the baby George he said No, every Tom, Dick and Harry's called George. Well we all fell about laughing. Believe me YOU HAD TO BE THERE. From then on we were called A BAND CALLED GEORGE a revolutionary name for the time. We dropped the SWEENEY TODD songs and changed the complete set and later that year released a single NCB Man on Bell Records (p) Island Music."

Read more:http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=59493412&blogId=112057396#ixzz0y11CJVbO


The following are From Hobo Magazine (Edited and published by Trev Teasdel)


Issue 2 August 1973

A BAND CALLED GEORGE

"Released their first single on the 24th August entitled NCB MAN, which is out on the Bell label. their music,

which is self composed, is in similar vain to that of Lindisfarne. The members of the band hail from both Coventry and Leamington. They are Bob Young on lead vocals and guitar. Colin Young on bass; Roger Prince on guitar;Nicky Trevisick on drums and Baz Andruszko on accordion. Not forgetting Ricky and Dave the trusty roadies!). (both Ex Indian Summer roadies). ...

Another entry in the same issue....

Whilst on the subject of Indian Summer, the roadies from that long lost Coventry group are now with a Leamington based group. Their name is A Band Called George and their music in the vain of Lindisfarne. Their line up consists of an accordion / bass guitar / 2 guitars with Coventry's Nicky Trevisick on drums. All members contribute to vocals and they have a single released on July 27th called NCB MAN for Bell Records."
(You can hear this single on their My Space )

Hobo - Late News - Issue 2 August 1973
A BAND CALLED GEORGE

"Released their first single on the 24th August entitled NCB MAN, which is out on the Bell label. their music,

which is self composed, is in similar vain to that of Lindisfarne. The members of the band hail from both Coventry and Leamington. They are Bob Young on lead vocals and guitar. Colin Young on bass; Roger Prince on guitar;Nicky Trevisick on drums and Baz Andruszko on accordion. Not forgetting Ricky and Dave the trusty roadies!). (both Ex Indian Summer roadies). ...

Another entry in the same issue....

Whilst on the subject of Indian Summer, the roadies from that long lost Coventry group are now with a Leamington based group. Their name is A Band Called George and their music in the vain of Lindisfarne. Their line up consists of an accordion / bass guitar / 2 guitars with Coventry's Nicky Trevisick on drums. All members contribute to vocals and they have a single released on July 27th called NCB MAN for Bell Records."
(You can hear this single on their My Space )

Hobo - Late News - Issue 2 August 1973
Baz Andruszko, the accordionist with A BAND CALLED GEORGE has left the group. A replacement is

being sought.
(Ed's note - I think Baz left to join a reformed Dando Shaft to provide the sound track for a play - You Must Be Joking (on the history of the car industry in Coventry) at the Belgrade Theatre. Rod Felton also joined Dando on this occasion.

Hobo

Issue 3 Unpublished Version - C January 1974

NCB MAN - NO AIR PLAY

NCB MAN, released on the Bell Label by A Band Called George has not been selected for air play on the Beeb, despite it being a highly commercial song, hailed by discos. The reason however is not owing to the lyrics erupting the Mary Whithouses or the pulsing beat inciting couples to copulate in bus queues, but is, I'm told, the fate of 90% of the singles that are submitted to the BBC. So everyone bombarded the Beeb with requests for it!

The band have ceased live gigs for the time being, coming together for recording only. Bob Young is writing and producing at Snitterfield Recording studios. Rog has written and recorded a solo single for release on Bell called World War 1. Nick has joined Smack! and Baz is joining Dando Shaft.


Issue 4 (Unpublished Version scheduled for May 1974)

SHADES OF NIGHT - have split up and also WILLOW. Joe Reynolds and Willow's other saxophonist are to join a reformed version of A Band Called George.

Scotch Mist - Electric Folk band c1974

Scotch Mist were technically a Birmingham Electric Folk band but Coventry area connections. I came across them through Mike O'Hare of Coventry Virgin Records store and the band also played in the Coventry area, including the Digger's festival at Coventry Cathedral 1974. They were also featured in Hobo - Coventry Music and Arts Magazine in 1974.

SCOTCH MIST

Were featured in HOBO Magazine Streetnews column in 1974 -

SCOTCH MIST - From Hobo Magazine 1974
A Birmingham band, playing electric folk similar to Fairport Convention. This band, managed by Mike O'Hare of the
Coventry Virgin Records store, have been around a fair while, and Mike assures me that they are an exceptional band. The line up consists of Keith Jones fiddle / mandolin / dulicmer / Melodian. Ken Jones guitar / Melodian / dulcimer. Mike James lead vocals / guitar / banjo/ harmonica. Kevin Whitehouse bass / madolin / Lute.Steve Austin drums and percussion. They have gigs lined up at the Royal Collage of Art / Manchester University / Warwick University (2 gigs) and Coventry Cathedral Ruins for the Digger's concert Sat July 13th.

Ken Jones responded to an earlier mention of Scotch Mist on this site thus -

[this is good] Just a note of thanks for naming our old manager from Virgin Records.... I played in the 70's Scotch Mist folk rock band you've mentioned, and have struggled to recall his name for more years I care to remember! The Coventry Cathedral Ruins gig quoted was a pleasure to play at even though the rain did its best to spoil things. Great site by the way. Cheers! Ken Jones

April - Coventry Folk Rock Band 1969 / 70

APRIL were Coventry's answer to Fairport Convention c 1969 / 71. I got to know them and their music well as they practiced at the Coventry Arts Umbrella club and open up the Umbrella for some of their practice sessions. They did a range of material which included some of their own compositions, James Taylor's Carolina On My Mind, Fairport's Who Knows Where the Time Goes.

The band consisted of -
Bill Jackson (vocals/guitar/recorder/piano),
Mick Thompson (12 & 6 string guitars/steel guitar/vocals),
Ron Lawrence (8 string bass/guitar/vocals),
Gray Richardson (assorted percussion including congas/bongos/claves/drums),
Pat Lawrence (sound balancer extraordinaire).
The band played both rock and folk venues and the Warwick University Arts festival. Their manager was Stuart Urquhart of Warwick.Their blurb sheet read -

A COMPLETE NEW CONCEPT IN MUSIC TODAY

“We really like what APRIL are doing. Their approach to music is really original and their sound is a full and complete one.” Magna Carta

What is so different about APRIL’s approach to music? Basically the way they get such a beautiful mellow sound with an unusual electric line up.

“April are an ultra-contemporary group turning in their ideas and music towards a folk influence. 80% of their material is original and so is their approach to material written by others. As can be seen from their line up, the group comprises a great variety of instruments (& effects) which go together to form a very interesting show, with good music the aim in mind.”

April were the hosts every Tuesday at the Swan Folk & Kontemporary Klub, Yardley Birmingham and supported acts such as Cliff Aungier & Gerry Lockran.

Ron Lawrence lived out at Shilton on the Leicester road at the time and later formed another band with Roy Butterfield and Al Hatton (both ex Indian Summer), Al Docker (Ex Tsar), Ron Lawrence and Bill Jackson (Ex April) and called themselves Runestaff after the Michael Moorcock trilogy. I was living there at the time and watched them rehearse in the dining room. It was an attempt at a kind of Coventry Supergroup and it was sounding pretty good. Sadly the band split up before they had got to the gigging stage. I count myself lucky to have been one of the few to have heard them. Ron and Bill went on to play with another Coventry supergroup Monster Magnet and Moon In 1971 Ron Lawrence also played in another outfit based at the Umbrella club - Love Zeus with Loz Netto, Al Docker, Tony Cross. Ron Lawrence and Gray Richardson

By 1979 Ron Lawrence was playing along side another Coventry musician - Loz Netto in Sniff and the Tears who had a hit with Drivers Seat. Over the years Ron has sessioned for a lot of bands including the Kinks.  http://www.allmusic.com/artist/ron-lawrence-mn0000743323 Ron lawrence was featured on some tracks from the Kinks 1978 album Misfits -  A Rock n Roll Fantasy, Live life, Get Up  and on Come Dancing.

The band played all the usual venues and folk clubs in the Coventry and Midlands area including -

They also supported Birmingham band Tea & Symphony at the Coventry Arts Umbrella Friday 21st August 1970. Also down to play Club Caroline - Walsgrave (Pete Waterman’s venue) March 1971. although this was cancelled along with the Umbrella gig owing to the split. They also played the Walsgrave June 2nd 1970 with East Light. 1971 Warwick University Arts Festival saw them playing a folk concert (Saturday March 6th) with Jeremy Taylor and Jo-Anne-Kelly. They played The Village (Colin Campbell) sat 26th Dec 1970.

The band split up in autumn 1971, cancelling the gig I'd booked with them for the Coventry Arts Umbrella. It's a great pity we have no audio or videos for this band although i suspect some exists with band members.

New Addition - Brian Fawcus sent in this earlier photo of April with a slightly different line up which i think may have been from 1969.

In the above photo, left to right Unknown (Brian thought it was Roy Butterfield but it doesn't look like him - anyone know?), Bill Jackson - vocals, Ron Lawrence (holding the door open) bass, Mick Thompson (on the floor) guitar, Barry Fawcus (Brian's brother) drums and Grey Richardson percussion. So it looks like they had a drummer originally. The unknown person could have been part of the road team even.

April at Warwick University Arts Festival 1971

Comments from the Hobo Vox blog




[this is good]


Hi there , not quite sure what to say but my Dad is Michael Thompson From the group April.




I would be gratefull if you could let me know where you keep all this wonderful stuff as Id like to see it in the flesh. Dad found this website and I was so amazed to read it all. Is there any chance I could have a copy of anything as he has nothing from his band days and I would love to surprise him with somthing. Thanx.




Posted by: tracey cairns | 07/14/2008 at 11:41 AM

Folk's Magazine Whatz on Guides 1978-80

These are the Whatz on Guides from Folks magazine 1978 - 80 regarding Coventry's folk clubs at the time - edited by Pete Willow.

Jan / Feb 1979

                               May / June 1979

Oct / Nov 1979

Dec / Jan 79 / 80

The History of Coventry Folk Clubs - Part 2 - Pete Willow

Pete Willow in the 70's

This is part two of  Pete Willow's article on Coventry Folk clubs of the 60's and 70's from his Coventry Folk music magazine 'Folks', published in 1978 to 1980.

In this part, Pete deals with some of the feedback to the first part before moving on with the article..

EXTRACTS FROM THE FELTON FILES

(or how Rod Felton encountered the great Dylan/Donovan cliché)

I have been inundated with comments, some helpful, some critical, some complimentary and some not. So as a result of the 'Fifteen Folkin' Years'  feature (part one on here), I undertook a fairly detailed look at Coventry's folk heritage. I can only surmise from this reaction that the article has been a total success in what I was attempting to do. For the most part people who have been closely involved with the development of folk music in the city have have been extremely forthcoming with info and offers of assistance for future articles in the series, which means of course the task of building up a complete picture will be even more complicated than I first imagined. History is being made all the time so I don't imagine the series will ever be fully complete.

Before going any further, I'd like to try and clear up some of the statements in the last article that became subject to close scrutiny. For my own part, Covering the the mid to late 60's period was a purely historical exercise. Although I  was living in Coventry up until 1969, I was totally uninvolved with the folk music scene at the time and, to write the article, I had to rely on not only the word of others but also press cuttings, magazine articles etc., that came my way as evidence of what had happened. Since then I have been given access to more evidence, some of which seems to contradict the stuff I had seen or heard previously.

For example, i stated that the Coventry Folk Club first opened at the Binley Oak in May 1963. Many people disputed this; I heard from somebody who had checked with Barry Skinner himself that the date was 1961. And yet i had found the date in a magazine, published in 1967, only four or six years after the event. An historian's life is not a happy one!, particularly as I now have in front of me an article published in the Coventry Standard (I presume was written by Douggie Grosvenor who worked for them at the time) in 1965, stating categorically that the club was founded in March 1962!

Another point unresolved is exact beginning of the Tavern Folk Club. I said that it was open in June 1964 at the Swanswell Tavern and that the venue was 'short-lived' as the club transferred to the Wine Lodge to become the Cofa's Tree Folk Club. Some readers recall that in fact the tavern went on for quite a time after, at least a couple of years and I'd be grateful for any more information to throw light on this. For example, did the club at the Tavern continue under the same name or did someone else take it over when the Cofa's tree was formed?

I do have access to an article that appeared in the local press in 1964, stating that the club had been going successfully for about 6 months. A few quotations from that article should be of interest to those who remember the club:

"....In these commercial days, the venture is non-profitmaking, and the admission charge - two shillings for members and three shillings for visitors - goes towards paying for visits every month or six weeks by nationally famous singers like the Ian Campbell Folk Group, featured at the club on Nov 22nd. I asked Ben Arnold and Bernard Overton, two of the club's organisers, what they thought they had brought their members, now well over three hundred in all, and the answer seems undoubtedly to be the variety and the quality of the entertainment offered....I heard English and American ballads from Ben, Scotch and Irish songs from the Kerry singers, modern ballads, English, French and German from Bernard and Lesley, American ballads from the brothers and American blues from Rod Felton."

I would like especially thank the last person mentioned (Rod Felton) for his help with this issue's article. My original intention this issue has been to look at Coventry clubs in the early 70's, but I would like to postpone that for another issue or so. Roddy has very kindly lent me his famous scrapbooks, which contain a wealth of information on the local folk scene during the mid to late 60's, and more specifically on what rod himself was doing musically during this time, which is what I'd like to concentrate on for the main part of this article. Hopefully in future articles, I shall cover the same period of time as seen through the eyes of other local musicians who played different styles of music at different venues.

Rod Felton by Rod Felton 65 - 69

Above is an attempted reproduction of of a photo of Rod that appeared in the Coventry Standard in July 22nd 1965, accompanied by an article headed "Rod Felton - a newcomer in the Bob Dylan folk tradition." It went on:

"The name Rod Felton, a Coventry folk singer, could soon become a household word like Donovan or Bob Dylan - and all because of a Government decision not to go ahead with plans for the HS 681 military freight aircraft....Rod, a former commercial artist at Whitworth-Gloster Aircraft Ltd.' Bagington, was made redundant some 18 months....He had been folk singing in his spare time for two years. As he left the aircraft factory for the last time, thoughts of professional folk singing were already uppermost in his mind.

"Sipping coffee in the Sombrero, Coventry's currently fashionable coffee house with the 'in-crowd', he told be: 'I was at Whitworth-Gloster for five years and making some pocket money doing a bit of folk in the evenings. then when I was made redundant I decided to turn professional as soon as I could.....Recently he appeared at folk clubs in Coventry, Rugby, Leamington, Birmingham and London- and everywhere he goes he is approached with pleas for a return performance.

Diz Disley by Rod Felton

"Diz Disley, the well known jazz guitarist and vocalist, has been one of many to voice openly their approval of Rod's musical abilities. In fact he became such a popular fellow in Coventry that he recently shaved off his beard top escape recognition.....Rod's immediate plans include a summer season at a seaside holiday camp -  and then he is all set for the big time and a recording contract!"

Not a journalistic masterpiece, but at least the local press was showing more interest in local folk acts than they have of late.

Digressing if I may for a while, I referred in the last issue to the change of venue in 1965 of the Coventry Folk Club, from Binley Oak to the Craven Arms (now The Bear), High street. There is more detail of that in another cutting from the scrapbooks, headed "Folk Wave Hits City Scene". It describes a particular evening at the Coventry Folk Club and then runs through other folk events in the same area and mentions Rod's popularity as a popular singer. Articles like this appearing in the local press did much to bring the local folk scene to everyone's notice. Not only did the people of Coventry know that there was a growing movement of folk enthusiasm in the city, but they knew where to go to see it on stage. Local acts, like Rod, were given particular encouragement.

I hope journalists reading this take note.

Here are a few quotes from that article -
"The fact that the Coventry Folk Club at the Craven Arms was packed by 7.50 on Thursday night makes its own comment on the subtle change coming over the folk scene in this country."

"Sure enough the visitor was American, Tom Paxton. Sure enough he does sing a few protest songs. But Paxton is a vastly different kettle of fish to Bob Dylan....Donovan and their subsequent cult of demi-clad, hirsute 'folk poets' and revolutionaries"

The article describes Paxton as 'a  real professional' and implies he is not a weirdo like the others, then goes on:
"meanwhile folk music sessions are taking place in the city most nights of the week, including Sundays"
(and here is a list I could have done with when compiling the article last issue!).

"When fans congregate at the Weaver's Arms Hotel in Bell Green Road, the Cofa's Tree Folk....The Heart of England Folk Club at the Fox and Vivian, Leamington."

Then back tot he original theme when the article quotes The Heart of England F.C. chairman, Peter Farley: "...One of our most popular resident singers is a Coventrian. He is Rod Felton, the blues artist, who has shown interest in the club since our formation 18 months ago." The article also makes reference to a club Roddy ran at the Market Tavern in Coventry on Wednesday evenings.

Whether it is journalistic flair or whatever, constant mention is made in these articles about the enthusiasm and the packed audiences at these clubs. 1965 seems to have been the year when folk was 'new wave' although the impression seems to be (from the newspapers' viewpoint at least) that this was due to the cult heroes Dylan and Donovan. American influence, including country music, and of course Irish traditional music appeared to be two main factors in the folk scene, skiffle becoming a thing of the past by this time. I mentioned last issue that anthologies of English traditional material were not so abundant in the early to mid 60's as they are today; publications such as Karl Dallas were still being prepared. It could be that the so called 'Traditional' folk Clubs, such as we know them today are, strangely  enough, a more recent innovation than clubs where more so-called 'contemporary' music is played. Please write in your thousands if  I'm wrong!

Roddy and Rob Armstrong formed the New Modern Idiot Grunt Band in the mid sixties and quickly achieved fame throughout Britain and Germany. A selection of quotes from various newspapers reveals a little of their past:

"Three Coventry folk singers plan to spend a fortnight in Germany, catering for this Teutonic taste in British folk music." 1968 "Two of the trio, Geoff Smedley and Rod Felton were with the Mummers in Keil last year. Third member of the group is Rob Armstrong....They plan to present German folk fans with just about every type of folk music - blues, English contemporary, traditional and so forth. Primarily the three are going as individualists, but will occasionally play together - Rod and Rob as 'The New Modern Idiot Grunt Band' and the three of them as 'Gentle Idea'." "Rob Armstrong and Rod Felton play a kind of 'new' modern folk music with a 'beat', which involves sustained grunting. And they call themselves 'idiots'. Which all adds up to their curious name...."

These Rod Felton cuttings from The Broadgate Gnome Lots of good Cov material on that site.

More extracts from the Felton scrapbooks are included here (although there wasn't space in the magazine for all the material). Suffice to say hey are packed full of letters, cuttings, photos and posters relating to people involved with the local and national folk scene from the mid 60's to the early 70's. They also contain many details of Rod's own career as a folk singer, including tickets, ads, posters and other publicity of concerts he has performed along with Savoy Brown, 10cc, Bronx Cheer and Julie Felix. A brief rundown of rod's career up to the age of 25 appears in the programme of the concert at the Playhouse, Harlow, one of the venues where he appeared with Julie Felix:

"He has played guitar since the age of twelve and started playing in clubs at the age of fifteen. he teamed up with Beverley Kuter (Martyn) who later married and partnered John Martyn."

"He then formed the New Modern Idiot Grunt band which was a great success in Northern England and Germany. When they stopped disbanded, Rod decided to build a solo career and recently signed management and recording contracts with with Barry Murray and Harry Simmonds - managers and producers of  Mungo Jerry, Savoy Brown, Chicken Shack etc... who in turn signed him with the newly formed British Talent International Agency who handled Mungo Jerry, Savoy Brown, Prelude, Peter Skellern, Weather Report and Herbie Hancock. Rod is currently working on his first album and single."

More on Rod Felton on this site - here - http://coventryfolkclubs.blogspot.co.uk/2011/07/rod-felton.html

More on The New Modern Idiot Grunt Band on this site here
http://coventryfolkclubs.blogspot.co.uk/2011/07/new-modern-idiot-grunt-band.html

Another local artist who received much attention in the local and national press was Beverley Kutner (later Martyn), or just plain Beverley. The Daily Sketch (Aug 23rd 1966) ran an article headed 'Now Beverley has the key to the top' which read:

Beverley Kutner (Martyn)  cuttings sources from The Broadgate Gnome 

" If there was an award for sheer will to win in the pop business it would this year to an 18 year old singer billed simply as Beverley. Just a year ago she came to London and Demmy Cordell, who makes discs for Georgie Fame and the Moody Blues, heard her sing in a club. Cordell told me: "I offered her a recording contract. She is the only person, other than Georgie and the Moodies, I've wanted to record. "But Beverley told him: 'I'm going away - i'll see you when i think I'm ready'..Beverley went back to her home in Coventry with a guitar - which Denny Laine of the Moody Blues had given her - and learned to play. Now she is rated by Jimmy Page of the Yardbirds, as ' the best girl guitarist' he's heard."

Here is a typical selection of other cuttings about the lady, proving the press moves in mysterious way:

"She's an 18 year old Chelsea-looking brunette from Coventry who has just cut her first record. The title is 'Happy new year' (Deram)." " Beverley......wore a cool black satin pajama suit - with enormous flapping trousers - at London airport yesterday. To keep away the chill winter breezes she wore a snug fox fur on top. Beverley was flying to Munich to make a broadcast and make promote her new record....""She admires Donovan's interpretations and was particularly thrilled when, in a London club recently, he stepped from the audience and offered to accompany her on guitar." "Beverley...claims that at 20 she has at last found her real self thanks to the Love Thy neighbour hippies of San Francisco. Beverley has just returned from Hippie-land after taking part in the Monteray pop Festival."

It seemed for a while that Beverley was in the limelight of press attention and attracting a lot of interest in the national folk/rock scene. When she married and worked with John Martyn, interest in her from the music media fell lost much of  its previous intensity. The sleeve notes on John and Beverley's album Stormbringer simply refer to the fact that she once worked for a jug band in Coventry. Mentioning no names.