The Room page on Facebook could do with a few more friends! If you use FB click the link on the left and join the page now! Always on the look out for Room pics and memories...
Showing posts with label deram. Show all posts
Showing posts with label deram. Show all posts
Sunday, 19 December 2010
Wednesday, 13 February 2008
Preflight - the album
The album was called "PRE-FLIGHT" after the first track (The song as written had no hyphen according to the composer).
Steve Edge: Lead and Rhythm Guitar
The recording was made at the Decca studios in West Hampstead in the summer of 1970.
Mickey Clarke (enjoying a rave success at the time with "Two Little Boys" by Rolf Harris) was the producer, and engineered by Peter Rynston and Simaen Skolfield.
The strings and brass arrangements were by Richard Harvey.
The sleeve cover was designed by Roy and featured yet another of his Rotring plane drawings!
The Tracks
Side One
1 Preflight (Edge)
Side One
1 Preflight (Edge)
2 Where Did I Go Wrong (Room)
3 No Warmth In My Life (Williams)
4 Big John Blues (Williams)
Side Two
1 Andromeda (Williams, Putt, Kevern)
2 War (Williams)
3 Cemetery Junction (Williams, Putt, Jenkins)
The Sleeve Notes
The sleeve notes were written by Mickey Clarke...
2 War (Williams)
3 Cemetery Junction (Williams, Putt, Jenkins)
The Sleeve Notes
The sleeve notes were written by Mickey Clarke...
Steve Edge: Lead and Rhythm Guitar
Outwardly a happy placid guy and always willing to learn. Inwardly a mystery. The musical brain. (In the room)
Chris Williams: Lead Guitars
Should have been a jazz violinist the way he plays his guitar. A really fine writer and musician. (In the room)
Bob Jenkins: Drums, Congas and Percussion
Must be a descendant of D'Artagnan the musketeer. (He looks like one). Sword fencing on the cymbals, he moves his sticks as though fighting all the king's men. He hits his bass drum like a cannon-ball being fired and his snare drum cuts through like a knife. A really great drummer. (In the room)
Jane Kevern: Vocals and Tambourine
The sort of girl you like as soon as you meet her. Her friendly and understanding eyes put you at ease, like her sad voice when she sings blues (In the room)
Roy Putt: Bass and Artistic Design
Like his bass, a very deep and cool sort of guy. Everything he writes and plays is like poetry to music (In the room)
Tuesday, 12 February 2008
1970 and all change again...
The Melody Maker contest at the Lyceum was a bit of a laugh, tho it proved quite a learning experience.
The day started early with a trip to Orange Recording Studios - a grandiose title for a couple of small rooms - with a couple of numbers cut for a demo for EMI. This was the first visit to a recording studio.
Later, the group moved on to the Lyceum. Having played at similar sized venues, the place did not intimidate the gang.
My, there were some serious people there. Bands with noses stuck up in the air, other quite happy to chat and discuss guitars and amps, and bossy organisers trying to muster the hairy mob into some kind of order.
Most bands were actually very very good, and the group felt somewhat inadequate in the "image" department. Poor we were with no cash for glitzy stage gear, so we appeared in our old bluesy stuff instead.
I cannot recall all the numbers we played but we did end with "Vehicle", an Edge song in fast 3/4 time written in October 1969 (not the CTA song of the same name that appeared about time of the contest).
The day started early with a trip to Orange Recording Studios - a grandiose title for a couple of small rooms - with a couple of numbers cut for a demo for EMI. This was the first visit to a recording studio.
Later, the group moved on to the Lyceum. Having played at similar sized venues, the place did not intimidate the gang.
My, there were some serious people there. Bands with noses stuck up in the air, other quite happy to chat and discuss guitars and amps, and bossy organisers trying to muster the hairy mob into some kind of order.
Most bands were actually very very good, and the group felt somewhat inadequate in the "image" department. Poor we were with no cash for glitzy stage gear, so we appeared in our old bluesy stuff instead.
I cannot recall all the numbers we played but we did end with "Vehicle", an Edge song in fast 3/4 time written in October 1969 (not the CTA song of the same name that appeared about time of the contest).
Above: Steve with his trusty Telecaster...
Our "Vehicle" had a heavy drone on D, which allowed some searing guitar harmonics to be placed alongside. The harmonies were once unkindly likened to Pearl and Teddy Carr (if you can remember them you are old), and the song had some sweet quiet bits which then erupted into v-e-r-y loud swooshing, and an almost classical ending. Went down quite well that one, even if I say so myself!
We came second. and were offered a contract with Decca. Heard "Vehicle" on the Orange tape much later - volume way up, loads of bass and...wow.
Gigs on the college circuit began to roll in. In Coventry, the band supported Fleetwood Mac, who still had Peter Green (still rated as my favourite blues guitarist), and who were probably the friendliest group the band met.
Before the recording session, I went to "Tin Pan Alley" to work out the strings and brass arrangements with Richard Hartley, the musical director destined for our album. I had mixed feelings cos I felt good in such exalted surroundings, yet it seemed a bit "cosy" and weird to a country boy.
The recording session for "Preflight" took just one day (some now say it was a two day job) in the old Decca studios in West Hampstead. I recall restringing my trusty Telecaster before the session. And it did sound good.
Most songs went down first or second time. Double tracking on some harmonies and extra guitars also. The studio guys were most patient.
There were some songs recorded that didn't see the light of day...what happened to those tapes?
Above: Photo shoot with Dezo Hoffman
1969 and more changes...
The year turned with Jethro Tull's influence creeping in, but with a noticeable leaning towards Peter Green and John Mayall.
Maybe the band found it suited their abilities and talents, and it was still unusual for female vocals especially on the blues numbers.
Chris and Roy wrote songs together - these were bluesy and what was becoming known as "progressive rock", and Steve chipped in with a few ditties, some folky-bluesy and others perhaps a bit Byrd-y.
A momentous spring night in Weymouth saw the band reach third place in the annual "Beat Contest" (yep, up-to-date or what!). The set included four titles of very different styles - "Ethel" a complicated but tuneful number, co-written with a chum from Art College called Mike Horseman, and which featured Jane on harmonium (caused a stir that did!). Next came "Rosebud May", an Edge song in Sebastian-style, but loosely based on a Ray Davies song (!). This was followed by a song I can't remember but I'm sure someone will let me know, and the band turned up the volume to close with an up-beat version of the Cream's "Cat's Squirrel".
The official details "concerning Groups competing in Heat No. 3 on Wednesday 16 April 1969" rather formally described Room as:
C. K. Williams - Lead Guitar
R. Putt - Bass Guitar
S. Edge - Lead Guitar
P. Redfern - Drums
Miss J. Kevern - Vocalist
The Leader of the Group was named as Miss J. Kevern
And the "Details of Career - as supplied by Group" went as follows:
"98% of our work is our own. We spend three nights a week arranging and sort our work to practise at local dances. Our work is based on originality and quality of sound. Anything new is always of interest. We arrange on the grounds of 'progressive blues' and 'life music'. Having a girl singer induces more into blues numbers."
The band continued to play locally at a wide variety of venues - pubs, clubs, village halls, and larger venues such as the Pavilion at Bournemouth, where they supported groups like Slade (who were skinheads then) - and began to sense that they had the makings of bigger things...
A lucky break got a supporting role at the Ritz in Bournemouth which was the place to be if you were seriously into music, man. All but the biggest bands played the Ritz.
The Room, now simply "Room", settled into a regular Friday night gig at the Ritz and the musical weaving continued. Bands such as Nice, Junior's Eyes, Van der Graf Generator, had an influence, and one night, the dressing room was blessed with the presence of the great bluesman Howlin' Wolf, who jammed with the band.
Now the time had come to go pro...Pete decided not to, and left to manage a record shop in Bournemouth, and was replaced by Bob Jenkins, a drummer from Bournemouth, who had a penchant for short snappy drum breaks, unlike Pete who just made one hell of a noise (and very good he was too!).
A manager was recruited, one Harry Goldblatt of Bournemouth. Harry was one of the old breed in the music business, almost harking back to the big band days, but he did have contacts. Also, a Transit was acquired - yes, at last, the status symbol had arrived!
On the road again, all over the country, gaining experience, and writing more and more songs and tunes. The band's musical abilities also developed, but the range of musical styles gradually diminished as a more unique sound began to emerge.
The chance to take part in the annual Melody Maker Contest (with a possible record deal for the winner) could not be missed, and the band duly got a place in the final at the Lyceum in the new year.
Above: Steve in 1969
Maybe the band found it suited their abilities and talents, and it was still unusual for female vocals especially on the blues numbers.
Chris and Roy wrote songs together - these were bluesy and what was becoming known as "progressive rock", and Steve chipped in with a few ditties, some folky-bluesy and others perhaps a bit Byrd-y.
A momentous spring night in Weymouth saw the band reach third place in the annual "Beat Contest" (yep, up-to-date or what!). The set included four titles of very different styles - "Ethel" a complicated but tuneful number, co-written with a chum from Art College called Mike Horseman, and which featured Jane on harmonium (caused a stir that did!). Next came "Rosebud May", an Edge song in Sebastian-style, but loosely based on a Ray Davies song (!). This was followed by a song I can't remember but I'm sure someone will let me know, and the band turned up the volume to close with an up-beat version of the Cream's "Cat's Squirrel".
The official details "concerning Groups competing in Heat No. 3 on Wednesday 16 April 1969" rather formally described Room as:
C. K. Williams - Lead Guitar
R. Putt - Bass Guitar
S. Edge - Lead Guitar
P. Redfern - Drums
Miss J. Kevern - Vocalist
The Leader of the Group was named as Miss J. Kevern
And the "Details of Career - as supplied by Group" went as follows:
"98% of our work is our own. We spend three nights a week arranging and sort our work to practise at local dances. Our work is based on originality and quality of sound. Anything new is always of interest. We arrange on the grounds of 'progressive blues' and 'life music'. Having a girl singer induces more into blues numbers."
The band continued to play locally at a wide variety of venues - pubs, clubs, village halls, and larger venues such as the Pavilion at Bournemouth, where they supported groups like Slade (who were skinheads then) - and began to sense that they had the makings of bigger things...
A lucky break got a supporting role at the Ritz in Bournemouth which was the place to be if you were seriously into music, man. All but the biggest bands played the Ritz.
The Room, now simply "Room", settled into a regular Friday night gig at the Ritz and the musical weaving continued. Bands such as Nice, Junior's Eyes, Van der Graf Generator, had an influence, and one night, the dressing room was blessed with the presence of the great bluesman Howlin' Wolf, who jammed with the band.
Now the time had come to go pro...Pete decided not to, and left to manage a record shop in Bournemouth, and was replaced by Bob Jenkins, a drummer from Bournemouth, who had a penchant for short snappy drum breaks, unlike Pete who just made one hell of a noise (and very good he was too!).
A manager was recruited, one Harry Goldblatt of Bournemouth. Harry was one of the old breed in the music business, almost harking back to the big band days, but he did have contacts. Also, a Transit was acquired - yes, at last, the status symbol had arrived!
On the road again, all over the country, gaining experience, and writing more and more songs and tunes. The band's musical abilities also developed, but the range of musical styles gradually diminished as a more unique sound began to emerge.
The chance to take part in the annual Melody Maker Contest (with a possible record deal for the winner) could not be missed, and the band duly got a place in the final at the Lyceum in the new year.
Above: Steve in 1969
1968 and all that...
The band came together in August 1968 when two Blandford lads, Chris Williams and Roy Putt, thought it a good idea to have some fun playing their kind of music. Chris was already an accomplished guitarist and had recently moved to Dorset from up North, and Roy took up the bass guitar. The drummer was another local chap called Pete Redfearn. In the early days, a lad called Roger took lead vocals and odd dancing during Chris's longish guitar solos.
They took the name "The Room" after a poem by somebody. Previously they were "One Way"...
Roy was an art student (yep, unusual eh?) studying graphic design at Bournemouth and Poole College of Art and quickly turned his considerable artistic talent to publicity material. One very early small handbill might be recalled even today as it depicted a gruesome head with the upper part hollowed out and filled with the slogan "Room to Let". It is a sign of the times that anyone wishing to contact the band had to telephone a Mr Williams during the day (who would have been at his work as a civil servant) - no calling people by their first name in those days!
Pete worked at a record shop in Poole and had easy access to all the best material of the day.
The band did all the usual commercial stuff like "Midnight Hour" (people at the dances insisted) but also did a lot of their own songs.
An aspiring guitarist, called Scott, from Bournemouth-way joined and added depth to the sound. Also, Chris's girl friend, Jane Kevern, was also known to have joined in the odd chorus.
The band were now making quite an impact locally especially with the head-bangers that were starting to appear. The lad from Bournemouth left and was replaced on October 27 1968 by Steve Edge, a local guitarist, and also studying graphics at Bournemouth.
Gigs became more frequent and widespread. One was at the Royal Ballrooms also had Pink Floyd and Status Quo on the bill...
The music was influenced by the changes in line-up. Roger the vocalist left to be replaced permanently by Jane. Believe it or not, a girl vocalist was unusual in the late sixties especially in a local band.
Still playing all the standards, but deeply into West Coast type music, the band's music changed subtly with leanings towards folk-rock and especially blues. The band also tried their hand at classical tunes a la Dave Edmonds ("In the Hall of the Mountain King" seems to stick in the mind)
The "musical direction" was, in truth, in turmoil, but it all added to the moulding of the later, more unique sound of Room.
Above: (l-r) Jane, Steve and Chris at Wimborne in 1968
Above: Steve at Wimborne in 1968
They took the name "The Room" after a poem by somebody. Previously they were "One Way"...
Roy was an art student (yep, unusual eh?) studying graphic design at Bournemouth and Poole College of Art and quickly turned his considerable artistic talent to publicity material. One very early small handbill might be recalled even today as it depicted a gruesome head with the upper part hollowed out and filled with the slogan "Room to Let". It is a sign of the times that anyone wishing to contact the band had to telephone a Mr Williams during the day (who would have been at his work as a civil servant) - no calling people by their first name in those days!
Pete worked at a record shop in Poole and had easy access to all the best material of the day.
The band did all the usual commercial stuff like "Midnight Hour" (people at the dances insisted) but also did a lot of their own songs.
An aspiring guitarist, called Scott, from Bournemouth-way joined and added depth to the sound. Also, Chris's girl friend, Jane Kevern, was also known to have joined in the odd chorus.
The band were now making quite an impact locally especially with the head-bangers that were starting to appear. The lad from Bournemouth left and was replaced on October 27 1968 by Steve Edge, a local guitarist, and also studying graphics at Bournemouth.
Gigs became more frequent and widespread. One was at the Royal Ballrooms also had Pink Floyd and Status Quo on the bill...
The music was influenced by the changes in line-up. Roger the vocalist left to be replaced permanently by Jane. Believe it or not, a girl vocalist was unusual in the late sixties especially in a local band.
Still playing all the standards, but deeply into West Coast type music, the band's music changed subtly with leanings towards folk-rock and especially blues. The band also tried their hand at classical tunes a la Dave Edmonds ("In the Hall of the Mountain King" seems to stick in the mind)
The "musical direction" was, in truth, in turmoil, but it all added to the moulding of the later, more unique sound of Room.
Above: (l-r) Jane, Steve and Chris at Wimborne in 1968
Above: (l-r) Pete and Roy at Wimborne in 1968
Above: Steve at Wimborne in 1968
Above: Roger at Wimborne in 1968
Making the leap...
...from a bog standard website to a blog might make the content more visible to the web community. So here we go with moving stuff across. It'll take a while...
Subscribe to:
Posts (Atom)
