Radio To Go: Coventry

Showing posts with label Coventry. Show all posts

Sunday, 3 November 2019

A Life in Music: Horace Panter

Horace Panter and music. Where do you stop?

I really can't remember first chatting with Horace Panter, but it might well have been in 1978, when the Specials played at Birmingham University.

They were at that fantastic phase in a new band's career, when the band has gelled, strings of gigs have knocked them into shape, and the whole point of the exercise seems to be coming together in an exciting way. I asked them if they would do a session for the old BRMB Radio that night.

If not then, it would have been at the now long-gone Outlaw Studios, when the band squeezed six songs out of that three hour session for BRMB. I went on air with those songs the next day. That probably makes me the first DJ to have played the Specials on radio, by the way. Jerry Dammers left the session in a grump once his vocals were down, but Horace was the soul of patience and courtesy. And it's been that way ever since.

Talking music with Horace is completely engrossing and serious fun. It was really, really enjoyable. And, d'oh, I learned something about basslines for Time is Tight and Rescue Me. Marvellous for my age, me. We veered off my initial Lives In Music track, and wound up gossiping about all sorts of things, as you'll hear. You can get the podcast here, or go to your favourite podcast supplier to grab it. Or skip down to the bottom of this page to stream from this blog page.

Music Links

Lives in Music

The Lives in Music series celebrates people who have spent a lifetime in music. They may be famous; they may be people who have spent their lives working in the background for the love of it. They all have stories. Lives in Music is a Radio To Go production.

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The Podcast

Also published in Lives In Music

1 - Ruby Turner
2 - Steve Ajao
3 - The Men Who Make Mellotrons
4 - Mike Hatton
6 - Jasper Carott
7 - Sam Slater
8 - John Patrick
9 - Gordon Giltrap
10 - Jim Simpson

The theme music for this series is by Big Q Fish. 'Boksburg Jive Toon' was written by Brian Neil, and recorded at the Jam House, Birmingham, in 2017.

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Sunday, 27 March 2016

The same, not the same. Horace Panter, the Specials after John Bradbury, and more

The many bands of Sir Horace Gentleman

Next month, the man who plays bass with the Specials, founder member Horace Panter, brings his latest project to Birmingham. This is his fourth band. Not sequentially mind – they all run pretty much at the same time.

The trick is: Horace is now... going Country. That's in addition to a Blues outfit and a very purist Ska operation. Oh, and the Specials. Not bad going for a kid who bumped into Jerry Dammers at Art School in Kettering.

Horace Panter. Special.

He still loves it, all of it.

Horace Panter is great company: courteous and affable. He is hugely knowledgeable about music and musicians, both local and further afield. He plays in three and a bit bands: blues band Blues 2 Go, and straight-up ska outfit Uptown Ska Collective. And he's also working with Champion Doug Veitch, collaborating with Martin Bell, once of The Wonder Stuff.

But the big band is, of course, The Specials, who started in 1977, reformed in 2008, and are now bigger than ever.

The Selecter at Reggae City in May: It's not the same old show

Pauline Black talks racism, sexism, 2-Tone, Ska and Reggae, re-forming your band, keeping it punchy, and not wallowing in black and white nostalgia.

I’m not absolutely sure, but I'm probably the first (legal) radio DJ to put The Selecter on air. We used to do sessions at the old BRMB Radio, recording up and coming West Midlands bands just as they came to the boil. This included UB40 and the Specials, pretty much all in quick succession, in 1979 . It worked a treat: the station scored great listening figures and got to look - very unusually for the old BRMB - hip and cutting edge. And the bands got exposure and MU scale cash. Everyone was happy. It worked. Just saying...

So, back in the day, Pauline Black came in for an interview to tie in with the session. Now, Pauline Black’s on the phone ahead of a string of midlands dates - you'll find them at the bottom of this post. 34 years on, The Selecter is touring again, and a stroll down 2-Tone lane it ain't. Two new albums, new members to go with founders Gaps Hendrickson and Black, a richer mix - and the same fierce attitude.

Don Fardon: whatever you do, read the contract first

Despite selling well over ten million records, Don Fardon never received a single penny in royalties: the classic story of poor contracts, lousy royalties and little or no advice. Then, things changed.

Pop is the preserve of the young. It's sold aggressively to successive target generations. The guys who sell it need a steady supply of fresh compliant talent to sell to each new crop of consumers. Implicit is this is the idea that the musicians who benefit from this process should play nice, and move over to make way for the latest newcomers. Don't make a fuss once the money's been made... just, er, go away, there's a good boy.

Fine for the business, but I have yet to meet any performer who thinks even remotely along those lines. People may have long or short music careers, for all sorts of reasons. But, without exception, the creative motivation is to make and perform music to fire imaginations, to touch audiences... to do good. Age has nothing to do with that. And being casually written off by music industry suits isn’t on the radar either.

Fathers and Sons: 60s veteran Don Fardon is back working, with DC Fontana

Old and in the way… or possessed of invaluable perspective? With Don Fardon and DC Fontana, it's, emphatically, the latter.

Don Fardon interviewed. Pic by Mark Mortimer

It’s fair to say that most music ventures tend to draw on people of much the same age range. And the more image-conscious the venture, the more this pattern seems to apply.

It’s often the fate of veteran musos to find themselves reverently placed on a pedestal, to be worshipped from afar rather than collaborated with. For example, much as 70s Brum metal monsters are venerated by 21st century rockers, I’m not at all sure the new kids would actually welcome any of the old boys onstage. And that’s a great shame, because every generation has creative goodies to pass on to the next. You could look at it the other way too: every new generation, no matter how much it thinks it's blazingly original, actually feeds from, builds on, and recycles what’s gone before.

It’s not a hard and fast rule. There are exceptions, and when they work, it’s a pure delight.

The excellent Friendly Fire Band, one of the keepers of Birmingham’s reggae flame, is only too happy to work with reggae veterans whenever they can. World, Blues, Jazz, Country and Folk, too, also all hold their veterans are held in high esteem. With Rock, Pop and Dance / Club / Urban variations, I think it’s a slightly different story; there, image and tribalism carries much more weight.

So it was nice to learn that a band I really admire, DC Fontana, who have great (but not compulsive/obsessive) love for 60s pop, had forged a link with Don Fardon, who himself had had a fair go in the 60s as a solo artist and with his band The Sorrows.

Don (based in Coventry) was hooked up with DC Fontana (based in Tamworth) by a promoter in London; it’s proved a fruitful connection. DC Fontana leader Mark Mortimer was thrilled at the prospect of working with a seminal 60s name; Don, for his part, was very happy to have another canter round the course.

I met with Don and Mark as Don added vocals to an alternative version of the lead song on the next DC Fontana EP. In keeping with DCF’s nod to the 60s practice of recording multiple language versions of the same song, there’s talk of a Spanish version of the single. Hey, if the Beatles could cut German versions of their songs (Sie Liebt Dich, anyone?)…

The song in question is Pentagram Man; you can see the original YouTube clip down the page in this post. It’s about Aleister Crowley, the Leamington spa-born occultist. This is very 60s in itself: both Led Zeppelin and Black Sabbath paid a lot of attention to Crowley. The single even has The Great Beast himself intoning at the start...

Pentagram man: DC Fontana with Don Fardon

Mark, I hope this clip of Crowley is now in the public domain? I’d hate to think of him dropping by in person for his royalty share….

It's a recording taken from a wax cylinder dating right back to the early 1900s. So we are presuming it is in the public domain, and we’re safe to use it - as safe as can be expected when dealing with the Great Beast! We’re hoping to get the 6-track ep released by the end of September. We’re releasing on our own label, DC Tone, but it will also come out in vinyl on an Italian label called Teen Sound records. We release in all forms: CD, mp3 and vinyl.

Tell me about hooking up with Don?

We’d been asked to do backup for Don; he had re-formed the Sorrows, and this was to cover his solo work as well. We’ve had this sort of thing offered to us before, but it’s never actually happened for one reason or another, so I wasn’t expecting too much. Ironically, I’ve always loved his music. ‘I’m Alive’ by Don, which came out in 1969, is one of my top ten records of all time.

A couple of months later, we were approached by the same promoter; the gig was definitely on, could we look at contacting Don?

We met and hit it off well. He’s a lovely guy, with a lot of stories to tell. We worked up a show where we open up with some of our material, and then Don comes on and we play his stuff; it’s looking very promising.

So when is this show going on the road?

It’s started. We played in August at Euro Ye Ye in Gijón in Spain. It’s a great festival, held in the city square, in front of nine or ten thousand people. Great gig, big stage… we got to do an hour of DC Fontana and then 45 minutes with Don, and it went down an absolute storm. He’s an absolute pro. We’ve now been offered shows in Australia and Europe on the back of this. Don was a big-selling star in the 60s and 70s in those markets; there’s still a lot of fondness for him over there.

DC Fontana live, August 2, 2012 in Gijón, Spain. Photo: Fernando Da Silva.

Let me just rewind for a second here, Mark. You’re playing in front of ten thousand people in Spain….and you’re doing Australian tours. I know you do shows in France. That’s great, but how the hell does all that square with the gigs I’ve seen you play in Birmingham – several times now – in front of a small but dedicated audience who certainly like you a lot? There's a bit of a disconnect here…

It is a bit surreal – but I really enjoy that surrealism. I quite like the fact that we do so many different gigs, from the sublime to the ridiculous and back. We do gig a lot, because we need to fund our existence… which is a bit surreal in itself. A lot of bands are struggling to survive; we’re no exception. We deal with this by gigging a lot. We’re very old-school in that respect. But we are phasing out the smaller gigs now.

Like the one I saw you first at, in the Witton Arms behind Villa Park – the one with no stage at all?

Ironically, we’ve just been asked to play there again. They’re actually turning the beer-garden in the back into a bit a venue for bands. They’ve got quite ambitious plans. There is a gig happening on October 6th, outdoors, where they have Aslan coming over from Dublin – where they are huge – to play a fairly low-key gig. We’re supporting. It’s a bizarre combination again, but I like that – it opens us up to a new audience. The plan from the pub’s point of view is that it helps to put them on the map as a Birmingham music venue.

It’s a welcome addition as far as I’m concerned. North Birmingham simply doesn’t have enough music venues. Turning to the EP again – are you producing a video?

We’re done three – to support a six-track EP.

DC Fontana are issuing series of videos from Pentragram Man EP. Here's number 1

Wow. Did that cost a lot of money?

Well, we haven’t got a lot of money! We tried to box as cleverly as we can. We try to surround ourselves with people who are really creative, who are quite hungry as well. We want to work with directors and actors and performance artists who want make their name in the world, who’ll be happy to work with people like us on a collaborative basis. We do try to make out videos look a lot more expensive that they really are.

Well, that’s part of your goal, isn’t it?

Well hopefully. It’s not easy to pull off. We do spend thousands… but not tens of thousands like some people do. I used to work for a record label in Birmingham (Network Records, based at Stratford House in Camp Hill) and I can remember the sums of money we spent on bands like Altern8, the rave duo, KWS from Nottingham, who had a number 1 hit… Brum based house duo Mother, and people like Groove Corporation, who we now record with… we spent an awful amount of money on videos. I can remember hanging out on set and seeing how it was done. I always felt that, as a lot of things were with the music industry back in those days, that everybody was ripping everybody else off, everybody was making a huge amount of money, when it could have been done with a much smaller budget.

Meantime, back in the studio, Don Fardon was warming up nicely up as he worked up through a bunch of takes. We spent a lot of time talking about his early career, and especially about how the vast sums of money he made in the 60s …. never actually seemed to trickle down to him. Don’s got a lot of solid advice for anybody starting out, and this is going to be the subject of a separate post later in the year. But he’s a contented man. It wasn’t always that way

Don Fardon: The first agency agreement I signed with the Sorrows, we signed at a champagne reception for the farewell tour for the Drifters. We didn’t know until two years later that we were managed, and owned, by the Krays… The company was called Capable Management. My advice is: take advice before you sign anything. We didn’t, and we paid for it.

Louise and Don Fardon on stage in Gijón, Spain. Photo: Fernando Da Silva.

Not a contract I’d want to break. Here we are in a studio in Balsall Heath, a funky part of Brum in all senses of the word, and you’ve just dropped vocals onto DC Fontana’s 60s psychedelic pop. And it’s 2012. How does it feel?

Pretty good. The big concert we did in July in Spain was such a wow. We all enjoyed it, and they said we’d love you to put vocals down on one of the main tracks of the new album; I said of course I would.

But are you getting a royalty on this?

We haven’t even talked about it!

But it's crystal clear that you're having a ball...

Absolutely. This is different. This is for friends!

DC Fontana's second video from the new EP, shot in Birmingham's Custard Factory

Links
DC Fontana website
Don Fardon Wikipedia page

Tuesday, 12 June 2012

The Free rebrand: first results; a new oldies station on the way. Lots of questions...

First survey figures look good for the renamed BRMB / Mercia / Wyvern / Beacon cluster. There’s a long way to go; they're not out of the woods yet. But there's an intriguing new development coming soon on their AM frequencies.

Three months ago, I posted about the impending morphing of four local stations into one, to be called Free Radio. It kicked up a pretty storm on radio discussion boards, not all of whom grasped the precise points of the post. I was amused to get both stick from take-no-prisoners thrusting young biz-oriented anoraks, and kind but misguided statements of solidarity from nostalgia freaks. The post pulled in, by the standards of this tiny blog, spectacular page-view figures.

The gist of that post was:
• Given the state of the market, Free's management didn’t really have an option not to change things.
• Cynics might say that previous owners had trashed the stations, so they wouldn’t be viable competition once sold on. I couldn’t possibly comment.
• The new radio wars have to be fought differently. Nationwide brands have deeper pockets and more resources.
• Brand radio has not increased the commercial sector's market share, but the 'consolidation' of dozens of stations has cost a lot of good people their jobs.
• The old radio glory days are well and truly gone. Hey, I miss them too.
• That said, there is still value in looking at how local commercial radio did it in the old days.
That was three months ago. Now, with fresh survey results in, it’s a good time to look at the latest figures, and then to ask a few questions of Free MD Phil Riley.

So let's start with the bottom line figure of total Market Share. This all comes from the excellent Media UK site, which has more stats for more stations than you can shake a stick at. We’re looking at the BRMB/Free Birmingham numbers.

It still looks crap over the period of the graph, doesn’t it? But it’s worth zooming in to look at the last three years, focusing on the period of the current ownership:

That’s bit better. A bit. Of course, you can puff this up into headline stats which make you look great, and stations do that all the time when these figures come out. The bottom line is that, taken over a three year period, the current management have first stabilised listening, and then started to improve things.

These figures actually represent the last listening figures for the old BRMB. The period of this survey was the six months ending March 2012, when Free Birmingham was still BRMB. It’s going to be nine months before there are totally Free-specific stats. A further bit of geekery to add to the mix is that I’m only looking at Birmingham numbers. Each of the Free stations is surveyed by coverage area. Across the four stations, in general, figures are up, but Coventry has shown a hiccup. But, on balance, progress.

Time for that chat. Phil Riley runs Free. I’ve got a lot of time for anyone who can run a station efficiently and stop it being run over by Global Radio’s London juggernauts. It's difficult to give him a hard time. Phil doesn’t derail easily. He’s boomingly bullish pretty much all the time. But, hey, nothing ventured…

Given the nice uptick on your stations ahead of the switch – quite possibly caused by the fuss people made about the name change – you must be feeling a bit more comfortable. Hand on heart, have you done the right thing?

"Yes. Basic figures are up, and all the other things we use to measure response – research. Facebook numbers, tweets, and range of other indicators - they’re all good."

How did it feel the day before the switch?

"I was quite relaxed by that point. The day we announced the switch was the day I felt the most nervous. That was the point of maximum impact – and we did get a lot of grief for a couple of weeks. In the run-up to the announcement, I did feel really nervous. I didn’t know how the staff were going to react to it, didn’t know what clients were going to think about it…. In the end it worked out OK."

Did you take any personal stick?

"Yes. There were a few people who said I was barking mad – or that I’d lost the plot – or I was out of touch – but you get that in any industry. People on the edges snipe at you."

So, so far, so good. Probably best to revisit this particular area in a year’s time, especially if the new brand puts on some significant numbers.

But there’s another wrinkle. About a week back, news leaked out about plans for Free's own, new, AM service. Up to now, the old AM channels for four stations have carried Gold, a London-run oldies channel, ironically from Global, who are now in direct competition with Free. Now, Free have decided to reclaim the frequencies to run a second service, to launch later this year, called Free 80s. In other words, their own oldies station.

I have to declare an interest here. I worked on what many people felt was the country’s finest and most successful Gold service, XTRA-AM. It covered Coventry and Birmingham, and it was set up, by Phil Riley, 23 years ago. XTRA was a blast. I hated to see it go, to be replaced by Gold, in my view a lamentable service that, these days, feels like an underperforming corporate afterthought.

When we talked about your underused AM resource a year or so ago, and I urged you to take it in hand, you told me that it simply wasn’t cost-effective, given the decline in AM listening generally. What’s made you change your mind?

"A number of things. Nearly all our AM and DAB contracts were up for renewal. So we had to decide: do we bother to renew these quite expensive transmission contracts to run a service we didn’t have any involvement in, and didn’t earn much revenue from… or do we hand the licenses back… or is there a different way of doing this? Can we do something new? And because we’d done the work to create Free, it made us think that we could make something of that as an add-on."

Brand extension then...?

"Yes. Which would have been very difficult to do if we were still running the four individual services."

You’re not the first to do brand extension. Absolute Radio have spun out Absolute 60s, 70s, 80s, 90s and noughties as part of their offer, along with a slew of other digital services across dozens of platforms. And other stations are announcing 80s services across the country. What’s going to make you different?

"Two things. It will be local – local news, traffic, weather, local football commentary – and presenters will be local too. And it will be unashamedly a pop music 80s service, as compared to the rock feel of Absolute 80s, which aims for a more male audience."

Talking local, I’ve got to ask you… the 80s was a brilliant period for local music. We had Fine Young Cannibals, it was the peak period for all the Two-Tone bands in Coventry and Birmingham, Duran Duran were in their prime, Ruby Turner was getting started, there were Dexy’s, UB40, Tin Tin, Fuzzbox, Toyah, Fashion, ELO’s later hits… are you going to take advantage of all that stuff?

"Yes. We will be playing a lot of local material, I’m sure, if it’s warranted".

Aha. I’m going to quote you on that.

"I did say if it’s warranted!"

I’ll quote you on that too…

So, just possibly, there are grounds for a tiny little bit of local muso optimism. I certainly hope so, and in my view there are very good reasons both culturally and financially to take such a step. I wouldn’t hold out for Judas Priest on Free 80s any time soon... but it would be just great to see this new outlet reflect the pride that the area takes in some of its talent.

Researching what's best to play on the radio is a complex job. When you start looking at 80s oldies, you simply can't take chart impact into account as an overriding guide, because the charts were riddled with dodgy fixes and fiddles pretty much throughout that whole decade. So it's a question of digging into what the area likes best using all the tools you can get - not just focus groups. The best material rises to the top over time... in general.... and the image-driven and hyped stuff fades away... in general. Nick Kamen, anyone?

And just to add some very contemporary perspective, it was interesting to note the ripple of local pride and pleasure that flowed across Facebook and Twitter when Ruby Turner took to the stage last Monday at the Royal Concert at Buckingham Palace. Here's a single page of reaction from that point in time - search for Ruby on Twitter; there's more.

This opens a up a whole area of discussion that I haven't really got space to go into here - but it's worth thinking about how artists find their place in our hearts, with or without chart exposure, and why radio should pay more attention to that process.

Back to Free... Just as with three months back, I wish success for the Free team. They serve their area from their region, and for that reason alone, I’m rooting for them; positive results will be pleasing to see.

One final thing. This really isn’t Free’s problem, but it affects them nonetheless. Local government should take note. The West Midlands has suffered a haemorrhage of media talent as Radio, TV, and press have all contracted. All those media jobs lost to the local economy, possibly 1000, maybe more, over a decade, also represent lost tax income and money spent in the region. Any reversal in that trend is to be applauded. So - more power to Free, and let's hope for further success elsewhere: it makes creative and economic sense.

And if Free can bring themselves to skew their 80s output just a tiny but noticeable bit towards those local bands and acts who went over big time, worldwide, from our area during the decade, and still matter to their potential West Midlands audience now, I’ll be even happier. That’s a win-win I'd really pleased to see.

Sunday, 22 January 2012

Steve Gibbons talks and plays on Radio to Go

A conversation with live music from Steve Gibbons and John Caswell

I aim to tell stories about musicians from my city on this blog. In this post, however, Steve Gibbons is telling the stories... and how. This is one of a series of programmes I recorded with local musicians last year, working with Brian Travers of UB40 on his Music Up project.

It’s a simple notion: we get together in a studio, we talk, and the musicians play, live. It’s a conversation with music, and, of course, the programme is only as good as the music and the conversation. Steve has great music and brilliant stories, so this one’s a winner.

I now have the privilege of giving the show a first outing on Radio To Go. But if you’re working on a station that would like to air it, that’s fine too; just read on. I’ve broken it down into roughly two equal parts: part one is right here; part two, now with a Flipcam clip of part of the session, follows on.

Steve Gibbons is one of the most loved musicians in Birmingham. He’s been his highly individual, poetic and articulate self, for nigh on fifty years. If you don’t know Steve, you should. Here’s the Wikipedia page, and here's a fan site.

This show was originally meant for a first broadcast airing on Birmingham Internet station Rhubarb Radio, but since that station fell over late last year, I’d rather not let it gather dust. So, accidentally, but not unpleasantly, this was an exclusive on this blog. However, we agreed at the start of working this series that shows would be free for rebroadcast on any station that would like to have the programme. So, if you’re such a station, email me through this blog (link below) and I’ll get a copy to you. WCRfm, a community station in Wolverhampton, was the first station to take delivery of this programme for rebroadcast. It aired in February.

My thanks for to Steve and John, Brian and the team at Music Up in Coventry. And the photo right here? Thank you, Steve Ajao.

There may be more to come in this series. Feedback is very welcome in the meantime. And I am open to suggestions...

Finally, here's a FlipCam shot of part of the session, shot by Brian Travers.

Also in the In The Studio series
360 at Elephant House
Steve Ajao

Monday, 13 December 2010

More Pilot Project stuff. The lessons we learn...

It’s fascinating how people use website information. We’ve had the Pilot Project site up for coming up on four weeks as I write this.

We’ve just added a new link – you can now email to info@pilot-project.co.uk.

I’ve been monitoring usage with Google Analytics. It’s telling us all sorts of stuff about where people are tapping into the site from. But the nice story I have to tell today is that, placed at the very bottom of the Advisors page, accessed off the About page, is a small paragraph thanking some of the people who went above and beyond the call of duty in offering comments and advice. You kind of have to dig to get down to this section. But people have been digging.

Mike Davies is a long-standing West Midlands Music journalist. He was down to be an advisor, but had to withdraw from our first shot for personal reasons. But happily, towards the end of our first curatorial period, he was showering us with ideas, which were most welcome. Yesterday Mike dropped me a note, because a band he worked with back in the day had been digging deep into the site, and turned his name up way down at the bottom of the Advisors page. And emailed him.

Not what I planned. But very nice to hear about. It shows how something like the Pilot Project , which is pretty damn well connected up, due to its fab team of advisors, can turn up even more connections. We saw a lot of synergies on launch night, and there have been more since then.

Another piece of news smacked me round the head this morning. I’d been double checking a couple of details on the site, and found out that the really excellent Senses, from Coventry, have called it quits. Sad for their followers, and it represents another tiny milestone for the Project.

Any site that takes a snapshot of 'now' is going to have to deal with change. Our approach this time around? We note that fact that with regret, the Senses are no more… and keep their music online for the time being. If there is any justice, the talented individuals from that band will go on to do other things, and if and when they achieve some success, it’s a nice to think that some of their earlier excellent work will have been archived for posterity. In a way that is the whole point of the Pilot Project. In the meantime, I’m racking up more feedback to evaluate as the Pilot Project progresses…

I mentioned some stats, didn’t I? Well, now...

We have an average of well over four minutes on site per visitor. That means a helluva lot of people are sticking around for rather longer. Even at average durations, that means more than one track being checked out by each visitor. Not at all bad in these days of dysfunctional site surfing.

Most popular page once you get past the home page? Well, it’s the Artists page. But the next most visited page is a surprise: it's the About page, which covers the whys and wherefores of the whole project.

At the start of the site’s life, two thirds of visitors were from the West Midlands. Now it’s about 50%, which tells us that the site is rippling out across the world wide web rather nicely. And initially, most of the traffic came from Facebook and Twitter and blog plugs. Now we can see a small but growing slice of interest directly from Search Engines.

I could go on. I will, next time….

Don't forget to email: info@pilot-project.co.uk

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