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Post by bunkerfan on Jul 13, 2017 10:16:26 GMT
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Post by maddogfagin on Jul 19, 2017 7:38:21 GMT
14 December 2012
Cathedral
Newcastle, UK With guests Kathryn Tickell & Bob Fox. God Rest Ye Merry Gentlemen¹, Gaudete², Jack-In-The-Green¹, We Five Kings¹, A Christmas Song, Otterburn³, Reading 1, The Bonny Gateshead Lass5, Child Of Mine6, Bourée - [Interval] - Holly Herald, Griminelli's Lament4, Bach's Toccata & Fugue7, Whence Is That Goodly Fragrance Flowing/I Saw Three Ships³, Reading 2, Champion At Keeping Them Rolling6, Prayer8, Quantz Happy Birthday, Aqualung (orchestral version)7, Locomotive Breath9 1: With the St Nicholas Cathedral Lay Clerks Choir 2: St Nicholas Cathedral Lay Clerks Choir. 3: Kathryn Tickell solo. 4: With Kathryn Tickell. 5: Bob Fox solo. 6: Sung by Bob Fox. 7: Organ intro by Michael Stoddart. 8: Read by Dean Christopher Dalliston. 9: With Kathryn Tickell & Bob Fox, and incl blessing by the Rt Revd Frank White, Asst. Bishop of Newcastle. Reading 1: Lindisfarne's 'Winter's Song' – read by Kathryn Tickell. Reading 2: 'A Christmas Truce' (from the Dublin Evening Mail, 2 January 1915) – read by Bob Fox. www.ministry-of-information.co.uk/setlist/12.htm
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Post by bunkerfan on Jul 19, 2017 14:04:35 GMT
14 December 2012
Cathedral
Newcastle, UK With guests Kathryn Tickell & Bob Fox. God Rest Ye Merry Gentlemen¹, Gaudete², Jack-In-The-Green¹, We Five Kings¹, A Christmas Song, Otterburn³, Reading 1, The Bonny Gateshead Lass5, Child Of Mine6, Bourée - [Interval] - Holly Herald, Griminelli's Lament4, Bach's Toccata & Fugue7, Whence Is That Goodly Fragrance Flowing/I Saw Three Ships³, Reading 2, Champion At Keeping Them Rolling6, Prayer8, Quantz Happy Birthday, Aqualung (orchestral version)7, Locomotive Breath9 1: With the St Nicholas Cathedral Lay Clerks Choir 2: St Nicholas Cathedral Lay Clerks Choir. 3: Kathryn Tickell solo. 4: With Kathryn Tickell. 5: Bob Fox solo. 6: Sung by Bob Fox. 7: Organ intro by Michael Stoddart. 8: Read by Dean Christopher Dalliston. 9: With Kathryn Tickell & Bob Fox, and incl blessing by the Rt Revd Frank White, Asst. Bishop of Newcastle. Reading 1: Lindisfarne's 'Winter's Song' – read by Kathryn Tickell. Reading 2: 'A Christmas Truce' (from the Dublin Evening Mail, 2 January 1915) – read by Bob Fox. www.ministry-of-information.co.uk/setlist/12.htm I still have great memories of this Christmas Concert but I just can't believe it was nearly 5 years ago  |
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Post by maddogfagin on Aug 1, 2017 7:00:09 GMT
15 December 2012
St. Bride's Fleet Street
London, UK Christmas concert. With guests Marc Almond of Soft Cell & Ryan O'Donnell. God Rest Ye Merry Gentlemen¹, Jack-In-The-Green, We Five Kings¹, Set Aside, Reading by Ryan O'Donnell, A Christmas Song, Thick As A Brick², Bach's Prelude in C Major, Bourée - [Interval] - Holly Herald, Wootton Bassett Town, Tomorrow Will Be My Dancing Day³, Bach's Toccata & Fugue¹, Prayer4, Quantz Happy Birthday, My God5, Aqualung (orchestral version)6, Locomotive Breath7 1: With organ solo by Benji Tyler. 2: From start to end of 'The Poet And The Painter', with Ryan O'Donnell. 3: Marc Almond, accompanied by John O'Hara. 4: Read by the Reverend George Pitcher. 5: With keyboard intro. 6: With organ intro, and Ryan O'Donnell). 7: With Ryan O'Donnell, and incl blessing by the Reverend George Pitcher. www.ministry-of-information.co.uk/setlist/12.htm
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Post by maddogfagin on Sept 24, 2017 7:27:58 GMT
www.plymouthherald.co.uk/news/history/13-lost-nightclubs-plymouth-still-46814813 lost nightclubs Plymouth still really missesThese are the clubs which made Plymouth the place to go out in the 70s, 80 and 90s. And boy do we miss them The Metro/Van Dike Club
A near-legendary Devonport club, now demolished, in Exmouth Road, which hosted Sham 69, Quintessence and Generation X punk bands.
Pink Floyd, Free, Tyrannosaurus Rex, David Bowie, Cat Stevens, Eric Clapton, Fairport Convention, Status Quo, Hawkwind, Family, Roxy Music and Jethro Tull performed at the club as they worked their way up the charts to international fame and fortune.
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Post by maddogfagin on Sept 25, 2017 7:31:21 GMT
I was going to just post the Tull bit at the bottom of the article but decided to post it all as it's more than an article, more a historical document of sorts. www.guildford-dragon.com/2017/09/24/thrill-meeting-british-blues-guitarist-peter-green-50-years-ago/Thrill Of Meeting British Blues Guitarist Peter Green 50 Years AgoFormer journalist Dave Reading recalls a brief encounter with one of his guitar heroes at a Guildford gig 50 years ago. A friend of mine was talking about memorable moments in his life and he asked me whether I’d ever met anyone famous. There was quite a list actually because I was a journalist for 37 years.  Prince Philip was probably the most famous of the lot, but my biggest thrill was meeting Peter Green exactly 50 years ago. My friend, who’s a lot younger than me, didn’t know who I was talking about until I mentioned the hit single Albatross by Fleetwood Mac. But for me that track was a sideshow in his career. In the late 1960s Peter Green could play the blues guitar better than any Englishman alive – and that includes Eric Clapton. The encounter took place at the Wooden Bridge pub on the outskirts of Guildford, where Green was playing with his new band, Peter Green’s Fleetwood Mac.  The Wooden bridge in the 1960s. Picture from a website devoted to the band Ten Years After.The pub’s Sunday night gigs drew people from miles around. We would each pay something like five shillings (25p) to hear big names such as the Jeff Beck Group, Ten Years After and the Herd. The evenings could be quite raucous. On one occasion someone let off a tear gas canister in the bar next door, resulting in the place being emptied in five seconds flat! Peter Green took the stage at the Wooden Bridge shortly after he’d quit John Mayall’s Bluesbreakers. He wore one of those collarless shirts that my granddad used to wear and I seem to remember him playing a neat little Gibson Les Paul Standard guitar. A lot of British blues guitarists thought you had to play at breakneck speed to be any good, but Peter Green could do more with three or four notes than other guitarists could do with 20. During the break he came off the stage to talk to members of the audience and I plucked up the courage to have a few words with him. He wasn’t modest about his immense talent and I recall one particularly memorable comment: “There’s only three people in this country who are playing blues as it should be played,” he said. “That’s Eric, Jimi and me.” He was referring to Clapton and Hendrix. This was the Sergeant Pepper era. Pop music was now a dazzling, creative force, having broken away from the standard Bobby Vee-style pop tunes of the early 1960s. In parallel, blues was causing an explosion of its own and Peter Green spoke with passion and knowledge about his heroes: black musicians like BB King, Freddie King and Buddy Guy. He talked about how important it was to play sparsely rather than overpower a gig with too many notes, casting special praise on a young Guildford guitarist called Nigel Enever, who was playing that night with the support band, the Whiskey Ring.  Nigel Enever (right) playing with a later band called The Switch. Picture: Nigel Enever collection.Commenting on Enever’s guitar solo in the Jimmy Witherspoon classic Evening, Green said: “I thought at one point you were going to over-play it, but you judged it just right. It was perfect.” The gig was stunning, with old blues standards mixed with Green’s own compositions. His style was inspired by BB King but he had an extra cockiness that a lot of British blues had during that period. There was emotion in his playing and also a lot of pain in his compositions, almost as if he foresaw that later on his life would turn into a living hell. The following year he did a few Sunday night gigs at the Gin Mill, which was set in a tiny room at the end of a Godalming side street. The club was a showcase for British blues, starring such memorable names as Savoy Brown, Free, Jethro Tull, Chicken Shack and the incomparable Duster Bennett. But it was Peter Green who stood out. A few years later his career collapsed in a horror of drug use and mental illness. Since then he has made a kind of comeback – receiving the hero worship that he deserves – but he has never quite recaptured the magic that I witnessed all those years ago. |
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Post by maddogfagin on Sept 30, 2017 8:39:03 GMT
Geissen, Saturday 16 July 1988 Jethro Tull, T'Pau, Foreigner, Ten Years After, Gunslinger, Starship et alI was there!!! But back in 1988 I did not know the AND gang (happy old days  ). I was with about 50 people from my hometown - a little village in the middle of nowhere. Great festival - horrible weather. Oh yes, the weather           |
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Post by maddogfagin on Oct 9, 2017 7:51:11 GMT
www.grimsbytelegraph.co.uk/news/nostalgia/global-superstars-played-town-venue-410854Global superstars played at town venueVoted Britain's best provincial jazz club in the early Sixties BYJEFF BEEDHAM 20:00, 4 SEP 2017 This year would have been the 60th anniversary of Grimsby’s jazz club, writes Jeff Beedham . Hidden from view off a busy Victoria Street in Dial Square, behind the modern Riverhead developments, is a large, old three-storey building with a rusty fire escape hanging down from the top floor. This was once the South Bank Jazz Club, from April 1, 1957 to c1971 when under new management it was renamed the Southbank Renaissance. In 1963 it was voted by a poll in Jazz News as Britain’s most outstanding provincial jazz club. Today, it stands empty and forgotten. My first memory of the club was early in 1968 when I became a member of the “South Bank” as it was known then. At this time Sowerbys oil mill at the Riverhead had recently been demolished, leaving a large area of waste ground stretching from Dial Square to Freddie Frith’s motorcycle showrooms in Victoria Street. The South Bank club consisted of the entire length of the top floor and originally there were two fire escapes reaching down to ground level. Layton & Lloyd decorators had a workshop on the first floor. Once inside there were several flights of concrete steps leading up to the club, that opened for live music on Fridays, Sundays and Mondays. On these nights the stairs were usually packed with queuing customers, it must have been a nightmare for visiting band’s roadies who had to manhandle all the equipment up the stairs. The club also opened on a Saturday afternoon when the coffee bar was open and recently-purchased albums could be played on the club’s sound system. Once at the top of the stairs there was a pay desk and to the right was the main room with a stage in one corner with bentwood chairs arranged around the walls. To the left was a seating area and toilets, a pinball machine and a bar that sold coffee, soft drinks and crisps. At the interval after getting a “pass out” stamped on your wrist at the pay desk there would be a mass exodus to the nearest pub for a drink. The Hope & Anchor was the nearest. Back then it was separated into a public bar and a lounge, where for a couple of pennies extra pressing a bell on the wall would result in a barmaid appearing to take the drinks order that she would then deliver to your table. The Old King’s Head in Victoria Street was another popular pub for South Bank regulars. Two local bands the Rumble Band (later renamed Rumble) and Calmen Waters both made regular appearances at the club, usually when a visiting band was unavailable. Towards the end of the British Blues Boom in 1968, Blodwyn Pig, Colosseum, Graham Bond Organisation, Keef Hartley Band, Robert Plant & the Band of Joy, Ten Years After, Savoy Brown Blues Band, Chicken Shack and Duster Bennett (one-man blues band) had all played at the South Bank to appreciative audiences.However not all the bands appearing were Blues bands with the Nice, Paper Dolls, Reparata & the Delrons, Showstoppers, Brian Auger & Julie Driscoll and American Folk icon Tim Rose all appearing at the South Bank. On Friday, October 11, 1968 the original Fleetwood Mac with guitarists Peter Green, Danny Kirwan and Jeremy Spencer made a memorable appearance. Admission was just 7s 6d and the queue extended up the stairs to the club down Dial Square and spilled over into Victoria Street. The hot, sweaty, smoke-filled club was packed to capacity and the wooden floor flexed under the weight of the foot-stomping audience. The fire doors were open as the band played a selection from their first album Fleetwood Mac recorded on the newly-formed Blue Horizon Record label featuring Jeremy Spencer on Bottleneck guitar in the Elmore James style.  The South Bank Jazz Club in Dial Square, Grimsby. In December 1968 they had a number one chart hit with a haunting instrumental called Albatross that they played that night along with the B-side, another instrumental called Jigsaw Puzzle Blues that featured new guitarist Danny Kirwan. As 1968 came to an end I renewed my membership for 1969 to 1970 but attendances at the club were falling and c1971 new management took over, renaming the club Southbank Renaissance, but after an initial success the club was finally forced to close its doors for good. I visited the club after closure and the rack of spare amplifier valves had all been broken and strewn all over the band room floor, along with a pile of screwed up posters. I salvaged a few items and left the South Bank Club for the final time. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I can't find out when Blodwyn Pig played at the above venue but www.ministry-of-information.co.uk/states that The John Evan Band was there 29/7/1966 and Jethro Tull 26/1/1968 MD
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Post by maddogfagin on Oct 15, 2017 7:49:58 GMT
www.theguardian.com/Rabbi urges calm in row over plan to turn Golders Green landmark into a mosqueThe former Golders Green Hippodrome, once graced by Marlene Dietrich, is now a focus for claims of Islamophobia  www.theguardian.com/uk-news/2017/oct/14/golders-green-hippodrome-mosque-plan-rabbi-urges-calmAs well as a venue for rock bands including Jethro Tull, Roxy Music, the Kinks and the Jam, BBC Radio 2’s Friday Night is Music Night was broadcast live from the hippodrome. “It was a hugely popular show, listened to by a third of the population of Britain,” said Dein.
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Post by maddogfagin on Dec 6, 2017 8:32:18 GMT
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Post by maddogfagin on Dec 6, 2017 8:55:44 GMT
And while we're about it, here's a better image of the Grosmont Wood Barn courtesy of google maps.  |
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Post by maddogfagin on Dec 24, 2017 14:50:04 GMT
I was fortunate enough to catch Rubbing Elbows in Easton, Pa. Does anybody have that recording? It was wonderful! Oh, and Merry Christmas to all! Gotta run... got a gig tonight. Not one I've seen on the web - I'll have a look out for it  Worthy of inclusion here in the past venues thread  13/10/02 State Theatre Easton, Pa. USA With musical guests: Ricky Bell & Mary Youngblood Audience: 1,400 In The Grip Of Stronger Stuff, Life Is A Long Song, Skating Away..., Thick As A Brick/Up The 'Pool/Cheap Day Return/Mother Goose, Fat Man, Griminelli's Lament, Montserrat, Bourée - [Interval] - A Christmas Song, Boris Dancing, Shallow (Ricky Bell & Ian), Laugh with Me (Mary Youngblood & Ian), Circular Breathing, The Stormont Shuffle, Dun Ringill, Dot Com, Living In The Past, Locomotive Breath Set list from www.ministry-of-information.co.uk/ |
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Post by maddogfagin on Jan 2, 2018 8:44:01 GMT
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Post by maddogfagin on Jan 3, 2018 8:49:02 GMT
26 October 1975
University of Iowa
Iowa City, Ia. USAwww.ministry-of-information.co.uk/
Time Machine: Iowa's Field House was beloved 'dump'The 'great old building' has lots of memories By Mark Dukes, correspondent Jan 1, 2018 www.thegazette.com/subject/sports/college/mens-basketball/iowas-field-house-was-beloved-dump-20180101The Field House hosted NCAA basketball regional tournaments in 1954, ’56, ’64 and ’66. The men’s basketball team won six Big Ten championships and the wrestling team 12 conference titles before they moved to Carver-Hawkeye Arena. The Field House also hosted 15 boys’ state high school basketball tournaments at various times between the 1920s and 1960s.
It also was the site of several concerts. Among the headliners to play the Field House were the Beach Boys, Grateful Dead, Jethro Tull, Pink Floyd and Herb Alpert and The Tijuana Brass.
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Post by maddogfagin on Jan 19, 2018 8:14:34 GMT
patch.com/connecticut/hartford/hartford-civic-center-roof-collapsed-40-years-agoHartford Civic Center Roof Collapsed 40 Years AgoIn the early morning hours of Jan. 18, 1978, the roof fell in under the weight of snow and ice. By Tim Jensen, Patch Staff | Jan 18, 2018 4:12 am ET  "The building's primary tenants were the New England Whalers of the World Hockey Association, with UConn basketball also playing key games at the spacious venue. Concerts were a huge attraction at the time; in 1977 alone, the building played host to performances by, among others, Fleetwood Mac, America, Boston, the Grateful Dead and Jethro Tull. The King himself, Elvis Presley, was scheduled to perform at the Civic Center on Aug. 21, 1977; unfortunately, he passed away five days earlier in his Graceland mansion at age 42."
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Post by maddogfagin on Jan 23, 2018 8:54:12 GMT
www.getsurrey.co.uk/news/surrey-news/bluesette-club-fascinating-history-leatherheads-14186353The Bluesette Club: The fascinating history of Leatherhead's much-loved former live music venue as plaque is unveiled to commemorate its influenceThe venue helped spawn top 1960s music talent including Ronnie Wood and Marc Bolan A plaque has been unveiled to commemorate an influential music venue in Leatherhead which helped spawn some of the country's best loved rock stars. Anyone who lived in Leatherhead in the 1960s or 1970s will have known all about the Bluesette Club - a much-loved gig venue which played host to musicians like Cat Stevens, Jethro Tull and Ronnie Wood. And guitar legend Jimi Hendrix even attended the Bridge Street venue, which was unsurprisingly the hottest place to go in Surrey for young revellers wanting to hear the latest bands. On Saturday (January 20), a Leatherhead Heritage Trail plaque was put up to commemorate the club with musicians attending the unveiling. 
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Post by maddogfagin on Jan 31, 2018 8:27:09 GMT
www.pollstar.com/article/nederlander-extends-vina-robles-booking-agreement-134401Nederlander Extends Vina Robles Booking Agreement8:50 AM, Tuesday, 1/30/2018 By: Ryan Borba Nederlander Concerts and Vina Robles Amphitheatre in Paso Robles, Calif., have extended their multi-year booking agreement, keeping Nederlander as exclusive booking agent, producer and promoter for the 3,300-capacity venue’s annual concert series.  Photo: Shannon MCMillen Vina Robles Amphitheatrein Paso Robles, Calif. “At Vina Robles we’re way ahead of last year at this time,” Nederlander Concerts CEO Alex Hodges told Pollstar. “We’ll do our 30 shows again this summer. It’s such a great venue that’s redefined the Central Coast. “The venue is great for tour routing and fits perfectly with Nederlander’s focus on mid-sized venues,” Hodges added. Shows announced for the 2018 season include George Lopez, Ian Anderson Presents Jethro Tull, Jay Leno, Trevor Noah, and Kidz Bop Live 2018, with more to be added. Nestled on an oak-dotted hillside in the heart of wine country, Vina Robles Amphitheatre’s concert season that typically runs April to November. The venue is nominated for the Best Small Outdoor Venue at the Pollstar Awards this year, taking place in Los Angeles Feb. 8. “Nederlander Concerts has been a valued partner with Vina Robles Amphitheatre since 2014, and we are excited to continue our relationship and to bring the best in live entertainment to the region,” said Paul Leatherman, Vina Robles Amphitheatre General Manager. Recent shows reported to Pollstar at the venue include include Ron White (2,223 tickets, $117,623 gross), The Shins (2,140, $72,474), and Chicago, which sold out 2,996 tickets and grossed $190,420. Other venues exclusively operated or programmed by Nederlander include the Hollywood Pantages Theatre in Los Angeles, City National Grove of Anaheim, City National Civic in San Jose, and Papa Murphy’s Park At Cal Expo in Sacramento.
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Post by maddogfagin on Mar 19, 2018 7:53:09 GMT
www.bucksfreepress.co.uk/18th March NOSTALGIA: Musical and football memories at the Nags Head in High WycombeMike Dewey, Nostalgia volunteer  Although it acquired an infamous reputation in the 60s the Nags Head was a venue
for dignitaries of the town. Here a crowd including the Mayor Mr H J Cox are assembled
outside the pub during a Beating the Bounds ceremony - Nov 1911
LINKThese Blues Nights quickly gained in popularity, particularly when Ron managed to bring legendary American bluesmen to the venue, such as John Lee Hooker and Howlin’ Wolf.
The Nag’s Head in High Wycombe then developed as a “must” for all aspiring British bands to play a gig at – including amongst many others Jethro Tull, Status Quo and Thin Lizzy, who all appeared there before achieving fame.
As the Punk Rock movement developed in the 1970s Ron Watts brought these bands to the Nags Head. Gigs continued into the 1980s, until Ron moved to other venues elsewhere, thus ending some 20 years of live music there.
The Nags Head finally closed in 2012 and was then sold. Initial plans were to convert it into a hotel but these came to nothing and the legendary building was finally converted into apartments.
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Post by maddogfagin on Apr 8, 2018 7:15:21 GMT
26 October 1980
Checkerdome
St Louis, Mo. USAThe "Caught In The Crossfire" bootleg comes from here 
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Post by maddogfagin on Apr 15, 2018 6:18:18 GMT
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Post by maddogfagin on Apr 26, 2018 6:31:59 GMT
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Post by maddogfagin on Jun 22, 2018 6:50:23 GMT
18 April 1972
Athletic & Convocation Center, Notre Dame University,
South Bend, In. USA Originally listed as have been at the Admiral King High School, Lorain, Ohio. but an audience member, a press review and a reported ticket stub say otherwise. It's not known whether the Lorain show was on a different date, replaced, or simply an error. Audience: ~6,800. Support: Wild Turkey. Thick As A Brick, Cross-Eyed Mary, A New Day Yesterday, Aqualung, Wind-Up, Instrumental, Locomotive Breath/Hard-Headed English General, Wind-Up (reprise) 'A New Day Yesterday' unconfirmed. www.ministry-of-information.co.uk/en.wikipedia.org/wiki/Edmund_P._Joyce_Center
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Post by steelmonkey on Jun 22, 2018 17:12:49 GMT
I am pretty sure they DID NOT play a high school in Lorain, Ohio, ten short miles from my college, in 1972. I was not at the college yet, but I am quite certain I would have been aware of a show at a high school near my college form older Tullies. Lorain is TINY.
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Post by maddogfagin on Jul 14, 2018 7:47:28 GMT
3 March 1969
Vantone Studio West Orange, NJ. USA
Recording 'Living In The Past' 
www.gofundme.com/help-save-orange-music-studio In an era where music, among other creative endeavors, has been devalued as mere “content,” freely accessed through the new digital medium, the very survival of those who create music and art and culture has been threatened. Bassist, iconic producer, and sonic visionary Bill Laswell becomes the latest legendary talent to fall victim to the vagaries of these crazy times. Beset by health problems while trying to navigate this harsh and uncertain economic landscape, Laswell is struggling to maintain Orange Music, the legendary New Jersey studio that he as helmed for the last 20 years. He is putting the call out to all fans, friends, and fellow artists alike: If you can help, please do so now. No contribution is too small. As an artist and producer, Bill Laswell really needs no introduction. Though he has operated largely out of view of the pop charts, he has managed to collaborate with the giants in practically every genre of music—from Miles Davis to Mick Jagger to Bob Marley to name but a few. At the peak of his commercial success, he even produced the Grammy-award winning hit “Rock It” for Herbie Hancock in 1983, one of the first songs that helped hip-hop crossover to the mainstream. At this point, he could have moved to L.A. and cashed in, but he chose to stay in New York and later, New Jersey, and keep it real. In doing so, he displayed his very real commitment to the underground.
Orange Music, the studio Bill moved to in 1998 after getting priced out of rapidly-gentrifying Greenpoint, Brooklyn, has a storied history of its own. Supposedly built in the late 60s for Franki Valli and the Four Seasons, it was originally called Vantone Studio. In the 70s, groups like Jethro Tull, Humble Pie, Brooklyn Bridge, and Carole King recorded there. In the 80s, the studio was renamed Grand Slam Studios and hosted such luminaries as Aerosmith and George Benson. When Laswell took over the studio, he brought with him his international cast of colorful characters, producing such artists as Tabla Beat Science, Sly & Robbie, Matisyahu, Bernie Worrell, and the inimitable Lee “Scratch” Perry. As a maverick in his field, he has always supported other independent artists, who, like himself, are striving for something further, deeper, and true. That’s why he allows other artists and independent labels to use the studio at reduced rates. So many stand to lose if Bill cannot hold onto Orange Music. LINK
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Post by maddogfagin on Jul 15, 2018 6:55:04 GMT
www.thetelegraphandargus.co.uk/tahistory/featuresnostalgiapasttimes/4558155.The_days_when_Bradford_sang_the_blues/21st August 2009The days when Bradford sang the bluesTelegraph & Argus @bradford_TandA   Peter Armstrong, an old Bradfordian living in Roosendaal, Holland, for the past 33 years, has written to share his memories of the Bluesville 68 club, which used to be in Pudsey. Peter writes: “I remember it being a good time to be young in the late Sixties, but there again I was lucky enough to be in the thick of the Bradford scene.” His letter comes in reply to Patrick Hargreaves, who had a letter recalling his visits to the club every Sunday night published on the T&A Letters page last month. Writes Peter: “Remember a guy who compered the shows? Well that was me, and this is how it all began. “I was at that time the DJ at the Penny Farthing, and later the Heartbeat and String Of Beads. One day the manager at the Penny asked if I knew any good bands to play live at the club. “He meant a soul band, but being a blues fan, I persuaded him to book John Mayall and the Bluesbreakers. This was of course very self-indulgent, because the Penny was a disco and not the ideal place for a top-line blues band. “I personally had a great night surrounded by John (not pleased) Mayall, Mick Taylor (later of the Stones), Steve Thomson and Keef Hartley, the club was full of mohair-clad mods and out-there art students, half of whom didn’t pay to get in, so no profit was made that night. “One person in the audience that night was Dave Stansfield, an ex-singer, who had a small agency running local groups, including the Midnight Train and the Broomdusters. He came over to talk, and after an hour we decided to set up a blues club. “We looked at a few places before we came across the Farmers Inn in Pudsey, which was run by a couple of guys who turned out to be a great help in getting things started up. “We were open every Sunday evening and started for the first weeks with the Broomdusters, who were exceptional. They should have gone a lot further than they did. Then our first act out of London arrived in the form of the Aynsley Dunbar Retaliation. Now we were up and running. “Within the next year we had artists such as Chicken Shack, Doctor K’s Blues Band, Fleetwood Mac, Jethro Tull, Free, Savoy Brown, to name a few. Later that year, we opened in Leeds on a Monday. This way we got the bands up from London cheaper because we booked them for two nights. “Booking a group for two nights meant we had to arrange lodgings for the Sunday night. So being the last of the great spenders, Dave and I put them up in our houses. I will never forget when we had three guys from Black Cat Bones sleeping in a double bed in our attic, much to the displeasure of my parents. “I also witnessed Paul Rodgers from Free getting a slap from a Bradford lass! “We were introduced to Free by a terrific guy called Alexis Korner, who played three times at the club. He used to arrive by train from London with guitars under his arms and joints in his pockets. Once it was time to go on stage and after searching five minutes for him, he would come out of the toilet in a wall of smoke with a big smile over his face. Happy times. “My personal favourite from all who visited was Duster Bennett, who was such a gentleman. He arrived the first time with his mum and dad. At that time his mum was his driver and I found it so refreshing that this family were so down to earth. Normal people without egos. “I would like to say that the late Sixties in Bradford was for me an exciting time to be alive, especially being involved with the blues scene and the Farmers,which without a doubt was one of the best of its time. “All my love, Bradford, I’ve fond memories of growing up there.”
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Post by maddogfagin on Jul 17, 2018 6:33:25 GMT
www.wycombegigs.co.uk/24-may-1968-jethro-tull-nags-head/Paul Lewis Posted on May 24, 2018 Categories 1968, Featured, Nag's Head 24 May 1968 – Jethro Tull – Nag’s HeadThe Nag’s Head hosted an early appearance for folk/prog rock giants in the making Jethro Tull on Friday 24th May 1968. The band, formed in late 1967, had released just one single at the point of their Nag’s Head appearance and their debut album had yet to be recorded. Less than a year later, their first vinyl long-player had hit the top 10 UK album charts and by the early 1970’s they were touring the world playing huge arenas.  LINK TO ARTICLE
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Post by maddogfagin on Sept 1, 2018 6:41:45 GMT
www.plymouthherald.co.uk/news/history/plymouth-van-dike-club-four-1951787The Plymouth Van Dike club: Four years, 293 acts and a police raid that would end everythingThere were more than 400 nights of entertainment in four years at Plymouth's famous Van Dike Club It was only open for four years - but in that time nearly 300 different acts appeared at the tiny Devonport venue. Peter Van Dike Club set up the Van Dike live music venue on Exmouth Road in 1968, but it was only in 1972 that it closed again. The Van Dike organisation's contribution to the live music scene in that time was outstanding, and now an incredible new book has been published detailing the club’s rich and fascinating history. Author Jonathan Hill has dug deep - from the 'summer of love' to the bungled police raid before its closure just months later. Jonathan Hill left Sutton High School in 1968 at the age of 16 and in September started a course at Plymouth College of Art. In his first week he had several seminal experiences, none of which he felt that he could really tell his parents about, but all of which made him feel that he had stepped into another world and one that he felt really happy in. He was not alone – across the city, across the country there was a generation growing up in a very different climate to that which their parents had grown up in. Although, having said that, one of those experiences, in Exmouth Road, Devonport, was largely down to one particular member of the ‘older generation’ Peter Van Dike. A former double bass player with Eddie Mendoza’s Spivs – a popular late-Forties British dance band – Peter had met his soon-to-be-wife, June Marlow (nee Jean Moulder), singing at the Embassy Ballroom, Milehouse. In 1950 the couple married and later that same year Peter, with his own band, recorded a couple of demos in the Exmouth Hall, Devonport, with June, and sent them to Eric Winstone, who led an even more popular ensemble. June ended spending three years with the Winstone band before becoming a member of the chart-topping vocal group, the Stargazers. Over a thousand live radio appearances (and hundreds of TV appearances as an actress) later and with two children now in tow, the couple relocated to Plymouth via London (where Peter had been a resident musician with BBC’s Crackerjack programme) and the Bahamas, in 1967.  Outside the Van Dike Club, June 1972 (Image: Stephen Johnson)It was the year of flower power, hippies and the ‘summer of love’. It was also the year that the Purple Fez, the latest incarnation of the Exmouth Hall, closed. The following year, after months of inactivity, the hall was reopened by Peter as the Van Dike Club. Taking a steer on who to book from his son Greg, Peter launched the new venue on Saturday, August 31, 1968. The, as yet, little-known band Jethro Tull were headlining. Gethsemane, with Martin Barre on lead guitar, were supporting and, going on first, became the first band ever to play on the Van Dike's stage – oddly enough next time Martin came back it was as a member of Jethro Tull.
The following week Jonathan went for the first time and then went along for most weekends until he went to art college in London in late 1971 and now, 50 years later, he has produced the definitive account of the Van Dike Club. Over the last couple of years Jonathan has travelled the country speaking to dozens of people, exchanging letters, emails and making countless phone calls, picking up personal reminiscences, anecdotes and incidental stories, as well as hundred of photographs to create a truly remarkable 240-page tome dedicated to the club. Incredibly the venue was only open for four years – 1968 to 1972 – but in that time over 293 different acts appeared – bands and solo artists – and there were over 400 nights of entertainment. Curiously enough the band that played there the most also had the unusual distinction of being the band that played there on the night that signalled the end of the era – and that was Fairport Convention (still going today by the way!). The fateful gig was on Thursday, November 25, 1971 and Jonathan devotes a whole chapter to the evening that over 170 police officers – who arrived in three coaches and six vans with five dogs – raided the establishment and arrested around 10 per cent of the 500-or-so strong audience. In an operation that resembled nothing short of a farce only two people were ultimately found guilty of possessing cannabis (the main reason for the raid), while a handful were found guilty of obstruction and one was found guilty of carrying an offensive weapon – a magnesium carbide cartridge used in flash photography! The Van Dike carried on, but closure was only months away, Manfred Mann being the last to play the venue under that guise in the summer of 1972. Thereafter the Van Dike Organisation continued to promote gigs in the city, mainly at the Guildhall, and later Greg Van Dike would reopen Exmouth Hall, albeit briefly as the Metro. But it was as the Van Dike that it will be remembered by many, me included, as the place to be and to see what were the best bands in the land at that time and Jonathan Hill’s wonderful book will be a real joy for anyone who spent even just one evening in great venue. With every date chronicled, every band listed, and (nearly) every flyer depicted, it is a delight from start to finish. ● Van Dike – The Life and Times of a Plymouth Club 1968-1972 (£35 hardback) is being launched this Saturday in the Lower Guildhall between 10am and 5pm at a reunion event and all former patrons of the Van Dike are welcome. Signed copies are also available from Jonathan (on eBay, or vandike2018@yahoo.co.uk) or from my shop on the Barbican.
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Post by JTull 007 on Sept 2, 2018 1:33:12 GMT
May 31, 1970: Jethro Tull, opened by Clouds  LINK This was the first show open to teens under 21 – no alcohol was served.
Unfortunately, the air conditioning was not yet installed, and the kids worked up quite a sweat.
Peter Altman of the Star was disappointed at the first show. Although he found the group to be outstanding,
he posited that they had not become “super-popular” because they don’t stand out.
What was missing in the first set was individuality and a quality one might call repose or ease. There was
little sense that the musicians had anything very personal to say. Wit was not pronounced. Solos lacked variety.
There was not a great deal of attention devoted to free musical conversation.
Often the musicians seemed to be playing by the book or off in their own private worlds.
Make no mistake. The sounds Tull provided were superior. The quintet has substance, and Anderson has
showmanship, too. Tull played about an hour and a half and never dried up. They gave enjoyment.
But whether or not they were up for their first set Sunday, they didn’t really switch on the Depot crowd
of perhaps 500. There seemed to be thousands of people in line for the second show as I left the old
Greyhound terminal. Maybe that inspired a really exciting session.
Ron Dachis, reporting for Hundred Flowers, was there for the second show and reported a block-long line
eight people wide stretching along 7th Street, overflowing into the streets, waiting for the first show to end.
Will Shapira in the Trib reported that most of the material was from the albums “Benefit” and “Stand Up” albums.
The opening act was Clouds, a Scottish band touring with Jethro Tull. On this day they were having equipment
problems. Altman deemed the trio “tedious;” Dachis called Clouds “repetitous and dull.” 
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Post by maddogfagin on Sept 25, 2018 6:59:09 GMT
www.cornwalllive.com/news/history/amazing-music-venues-cornwall-really-2025650The amazing music venues in Cornwall we really missWhen huge stars played all over the county We may have the massive annual gigs at the Eden Project, more festivals than ever with everything from Boardmasters to Leopallooza and old faithfuls like the Princess Pavilion and The Acorn, but there was a time when we were truly spoiled for live music in Cornwall. It's fair to say we're not exactly going through the glory years for venues in Cornwall at the moment. Yes, new kids on the block like the Old Bakery in Truro are flying the flag for up-and-coming music stars but the days of a plethora of venues staging performances by some of the biggest bands in the land are well and truly over. From the Cornwall Coliseum to the Winter Gardens, the old City Hall to The Pirate, there were always great venues in Cornwall. Here are just some of them ....  The Cornwall Coliseum in all its glory More here
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Post by maddogfagin on Dec 7, 2018 7:49:23 GMT
www.latimes.com/travel/lasvegas/la-tr-las-vegas-rock-and-roller-20181206-story.htmlRock & Rollers brings new life to a former Rat Pack haunt in Las VegasBy JAY JONES, DEC 06, 2018 | 4:30 AM  The new Rock & Rollers Las Vegas features a new restaurant (and an old rink) in a building with a storied past.
(Rock & Rollers Las Vegas)Rock & Rollers blends old-school roller-skating with new-school comfort foods and cocktails. The eatery and rink at the Sahara Event Center is hosting live bands, a nod to the 1960s when the the Doors and the Grateful Dead performed on stage. The restaurant (upstairs) and rink (downstairs) a few miles east of the Strip hopes to recapture that ambience with a 21-and-older mix of locals and tourists. Menu options at the new eatery, which opened Nov. 26, include small bites, such as pulled pork sliders ($9) and poutine ($9) as well as sophisticated entrees such as cinnamon-rubbed pork chops ($19) and almond-crusted salmon ($20). Visitors also have access to a full bar. The common space offers Duckpin bowling, darts, pool tables and board games. Also, there’s free live music Friday and Saturday nights, with an emphasis on local performers. See how Bellagio Las Vegas creates a holiday masterpiece in flowers in just six days » Back in the early days, the upstairs had a restaurant and lounge that served as an away-from-the-Strip retreat for big-time celebrities. “… [T]he restaurant was a frequent stomping ground for the Rat Pack in the early ’70s,” according to the Center’s history page. “Frank Sinatra, Dean Martin, Sammy Davis Jr. and the boys would all come upstairs after their show at the Sahara Casino and spend the late night partying with friends and showgirls.” Now the downstairs ice-skating rink is open to roller skaters. Open skating is available 4 to 8 p.m. Fridays and Saturdays for all ages, and until midnight for adults. The cost is $10 per person, and skate rentals cost an additional $5. A wall plaque shares the stellar list of bands who performed there, including Buffalo Springfield (1968), Carlos Santana, the Grateful Dead and the Doors (1969), Jethro Tull (1970), and Sly and the Family Stone (1973).
Rock & Rollers at 800 E. Karen Ave. is open daily 4 p.m. until 2 a.m. Info: Rock & Rollers, (702) 754-0038
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). I was with about 50 people from my hometown - a little village in the middle of nowhere. 
