On This Day 10/05/1985 The Colourfield

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On this day, 10 May 1985, pop band The Colourfield played Cardiff University. The band had just released their debut album Virgins and Philistines. It peaked at #12 in the UK album charts.

Formed in 1984 in Manchester, England when former Specials and Fun Boy Three frontman Terry Hall joined up with Karl Shale and ex-Swinging Cats member Toby Lyons. Despite the fact that all three members were from Coventry, the band was based in Manchester.

In January 1984, The Colour Field released their first single "The Colour Field", which just missed making the top 40 in the UK Singles Chart. In the summer of the same year, they released "Take" as their second single, which commercially performed less well. Their third single was "Thinking of You", released in January 1985, which reached number 12 in the UK chart, and featured Katrina Phillips accompanying Hall on vocals. Their fourth single, released days before their debut album came out, was "Castles in the Air" which reached the lower reaches of the UK chart.

Virgins and Philistines contained all original material except "The Hammond Song" (a cover of The Roches song), and "Can’t Get Enough of You Baby" (written by Linzer/Randell), which was the only track that received much airplay. The album was recorded at Strawberry Studios in Stockport (near Manchester) and was produced by Hugh Jones and Jeremy Green, and engineered by Chris Jones.

On This Day 09/05/1988 The Primitives

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On this day, 9 May 1988, indie pop band The Primitives played Cardiff University.

Formed in 1984, disbanded in 1992 and reformed in 2009, the band's two constant members throughout their recording career have been vocalist Tracy Tracy and guitarist Paul "PJ" Court. Drummer Tig Williams has been a constant member since 1987. Often described as an indie pop or indie rock band, The Primitives' musical style can also be seen as straddling power pop, new wave and post-punk.

The band's early singles were released on their own Lazy Records imprint. In late 1987, they signed the label over to RCA, which released the band's material from then until their split.

Lovely (1988), the band's first album, reached No. 6 on the UK Albums Chart, and produced two top 40 hit singles: "Crash" (UK No. 5, US Modern Rock No. 3) and "Out of Reach" (UK No. 25). "Crash", and the band were described in Melody Maker as "the perfect band who have made the perfect single".

"Way Behind Me" was released as a single soon after, and was included on later versions of the debut album, as well as on the follow-up album Pure.[1] 1988 was the band's peak year; in addition to the hit album and singles, the band undertook a sell-out tour of the UK, ending in two nights in May at London's Town & Country Club.

The album Pure (1989) was preceded by three singles: "Way Behind Me" (UK No. 36, US Modern Rock No. 8), "Sick of It" (UK No. 24, US Modern Rock No. 9) and "Secrets", (UK No. 49, US Modern Rock No. 12).

On This Day 08/05/1981 Larry Norman

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On this day, 8 May 1981, American musician, singer, songwriter, record label owner, and record producer. He is considered to be one of the pioneers of Christian rock music and released more than 100 albums.

In 2008, Christian rock historian John J. Thompson wrote, "It is certainly no overstatement to say that Larry Norman is to Christian music what John Lennon is to rock & roll or Bob Dylan is to folk music." Thompson credited Norman for his impact on the genre as a musician, a producer, and a businessman.

In the late 1970s and early 1980s, Norman also influenced a number of emerging punk and alternative rock artists. According to documentarian Larry Di Sabatino, Larry Norman was "an early influence" on the post-punk band U2. When Bono met with a summit of Nashville Christian music artists in 2002 to garner support for an African aid campaign, he specifically asked to see Norman. Upon Larry Norman's death, Bono sent flowers to his funeral with the note "Eternal singer, still eternal, Bono."

According to Charles Normal, Larry Norman attended his "first of many" punk rock shows while touring London in 1977, seeing Richard Hell and the Voidoids, the Damned, and Dead Boys. Regarding the punk movement, Norman stated that while he initially disliked some of the lyrical content, he was generally supportive of it and its youthful energy, which he viewed as preferable to disco.

In late 1980, Norman moved to England and, with his father, founded Phydeaux Records, a company designed to compete with the bootleg market by selling rarities from Norman's own archives. He signed a distribution deal with British label Chapel Lane and released several albums before returning to the United States in 1985.

Norman then began work on an anthology project celebrating his career in Christian music, beginning with the album White Blossoms from Black Roots: The History and the Chronology: Volume One; however, the project collapsed when the head of the distribution company was arrested for check forgery and the company's merchandise was seized by the FBI.

Setlist

I Hope I'll See You in Heaven

If I Were a Singer

I Am Near

When You Sent Your Son

No More LSD for Me

A Note From Mr. God

One Way

U.F.O.

666 (The Anti-Christ)

The Outlaw

The Troubles

On This Day 25/04/1987 Julian Cope

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On this day, 25 April 1987, singer/songwriter Julian Cope played Cardiff University on his Saint Julian tour. Support was provided by The Faith Brothers.

Cope's family resided in Tamworth, Staffordshire, but he was born in Deri, Glamorgan, Wales, where his mother's parents lived, while she was staying there. Cope was staying with his grandmother near Aberfan on his ninth birthday, the day of the Aberfan disaster of 1966, which he has described as a key event of his childhood.

He was the singer and songwriter in Liverpool post-punk band the Teardrop Explodes and has followed a solo career since 1983 in addition to working on musical side projects such as Queen Elizabeth, Brain Donor and Black Sheep.

Cope had just released his third solo album Saint Julian in March 1987 It has a very strong pop sound compared to other Cope releases, and spawned several of his best known tracks (including "World Shut Your Mouth" and "Trampolene", which were both hit singles).

Encouraged by his new manager Cally Callomon, Cope cleaned up and changed his image: cutting his hair, wearing rocker's leathers and embracing a "Rock God" perspective, as well as investing in a bizarre climbable microphone stand with integral steps.

To record and tour the album, Cope put together a new backing group, informally known as the "Two-Car Garage Band". This featured lead guitarist Donald Ross Skinner and former Waterboys drummer Chris Whitten (both of whom had played on Cope's previous album Fried), plus bass player James Eller (who'd played alongside Cope on the second Teardrop Explodes album, Wilder) and Cope himself on vocals and rhythm guitar.

On This Day 22/04/1981 Tygers of Pan Tang

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On this day, 22 Apri 1981, heavy metal band The Tygers Of Pan Tang played Cardiff’s Top Rank. Also playing that night was rock band Magnum.

Part of the new wave of British heavy metal movement. They formed in 1978 in Whitley Bay, England, and were active until 1987. The band reformed in 1999 and continue to record and perform. The name is derived from Pan Tang, a fictional archipelago in Michael Moorcock's Elric of Melniboné fantasy series whose wizards keep tigers as pets.

The Tygers of Pan Tang were formed by guitarist Robb Weir (born Robert Mortimer Weir, 1958), Richard "Rocky" Laws (bass), Jess Cox (vocals) and Brian Dick (drums). They played in working men's clubs and were first signed by local independent label Neat Records before MCA gave them a major record deal. After several singles, they released their first album, Wild Cat, in 1980. The album reached No. 18 in the UK Album Chart in the first week of its release.

Subsequently John Sykes (formerly of Streetfighter, later in Badlands, Thin Lizzy, Whitesnake, and Blue Murder) was added as second guitarist. Jess Cox had a falling out with the others and quit, to be replaced by Persian Risk vocalist Jon Deverill.

This lineup released Spellbound on the 10 April 1981, their second album which peaked at 33 in the UK album charts.

On This Day 21/04/1989 Miles Davis

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On this day, 21 April 1989, American jazz trumpeter, bandleader, and composer Miles Davis played Cardiff St David’s Hall.

Miles Davis is considered one of the most innovative, influential, and respected figures in the history of music. The Guardian described him as "a pioneer of 20th-century music, leading many of the key developments in the world of jazz." He has been called "one of the great innovators in jazz", and had the titles Prince of Darkness and the Picasso of Jazz bestowed upon him. The Rolling Stone Encyclopedia of Rock & Roll said, "Miles Davis played a crucial and inevitably controversial role in every major development in jazz since the mid-'40s, and no other jazz musician has had so profound an effect on rock.

Review by Steve Duffy - BBC News - 21 April 2016

It was winter in late 1988 and a fax arrived in my newspaper office in Cardiff. Miles Davis would be playing at St David's Hall.

What, Miles Davis? In Cardiff? Now jazz musicians of any ilk, especially undeniable legends, were not exactly queuing up at the Severn bridge tolls at the best of times.

But in the last two years of his life, he took to the road for a handful of UK shows beyond his near-annual London appearance.

He returned to Manchester Apollo for two nights for the first time since a Free Trade Hall gig in 1960. And then there would be two festival appearances - at Birmingham NEC and for Glasgow in its year as city of culture, a return after 17 years.

The Cardiff show in April 1989 was predictably a sell-out. I had invested a sizeable whack of my junior reporter's disposable salary on a ticket - £15. I didn't dare ask for a review ticket. After all, how do you review Miles Davis? I wanted to enjoy myself.

And then I got into a slight disagreement with the guy who got to do the review who insisted he would be disappointed if Davis didn't play Kind Of Blue, his 1959 epoch-making jazz classic. "But he hasn't played it for 30 years," I said. "That's the point of Miles Davis".

That point was, he did not look back. Unfortunately, Davis's music of the late 1980s - textural funky undertones to sparse melodies, mostly muted trumpet and twists on modern pop standards from the likes of Scritti Politti and Cyndi Lauper - has been overlooked somewhat. Many don't go beyond his critically-lauded, admittedly sublime 1950s and 1960s output.

None of that mattered to the lucky folks of Cardiff and Manchester 27 years ago this week. Now, if you wanted banter with the audience and high fives with the front row, then a Miles Davis concert was not the thing. He was more likely to have his back to the stalls. We should be thankful camera phones had not been invented.

Davis cut quite a small figure and walked off stage after a couple of songs before wandering back on a little while later.

There was an aura though, still some magic and the audience reacted quite wildly before the city of Cardiff, barring rare exceptions, could return to its sleepy default position as far as jazz giants are concerned.

The review, incidentally, was headlined "Off-form Miles is unexciting."

"He has the supreme and essential virtue of pleasing no-one but himself," my colleague wrote. I had to plead journalistic differences.

But what was it like being on stage with him?

Keyboard player John Beasley recalls: "It was my first tour with the band, so I was on cloud nine and I was learning from him like crazy.

"We rehearsed for two weeks in New York before so I'd started to get to know everybody."

He remembers the Cardiff concert.

"My family originally came from Wales so I remember the strange accent! We stayed over, it was a hotel not downtown but in a newer area. My wife was just about to have a baby and I hadn't realised they had Toys R Us in the UK too.

"Miles was on the bus with the rest of us - I was shocked, I thought he'd be flying to gigs or in a limo but he was hanging out with the guys. He could be funny. But it wasn't quite like being with your buddies because he was still Miles Davis."

He had been hired after Davis's nephew Vincent Wilburn, a drummer who had been watching Beasley's band play their weekly club set, suggested he record a cassette.

"He liked what we did and said he'd get a tape to Miles. I decided not to think about it but four months later in Florida my wife said, 'Miles Davis called'. Every musician has a joke about when Miles called but he answered when I called the number back."

Fellow keyboard player on the tour Kei Akagi said: "That was one of my first tours with Miles, and I was very green.

"I was trying very hard to find my place musically within such an incredible band. Miles could at times be a thoroughly intimidating and harsh leader, but he was also a very kind and warm person. He gave me a lot of words of encouragement."

Akagi said his concept of playing jazz piano had been formed by a succession of Davis musicians, from Red Garland to Keith Jarrett.

"To suddenly find myself being in Miles' band and occupying a position of such heavy historical import was very scary at first, and an awesome responsibility. It was humbling, to say the least."

Beasley said Davis would give little notes the next day after concerts.

"He'd call you in individually or the group into his dressing room and say what he liked or what he didn't like."

Akagi said: "He didn't tell me a lot about how to play. He could be rather verbally cryptic. But, what remains with me to this day is when he said 'I don't care what you play as long as you mean it'."

One thing which stuck with Beasley was a lesson on the art of leaving space - and when not to play.

"Early on, Miles came over and grabbed my left hand and put it behind my back. Piano players tend to play a phrase and use the left hand to fill in."

Akagi, still playing with his own trio but also a professor of music at the University of California in Irvine, remembers being part of an almost "tribal" tradition in the band.

"It was a curious tension. I think Miles gave us tremendous latitude to express ourselves, but there were definitely some firm boundaries that defined the 'Miles Davis sound'.

Beasley added: "At times he'd sit at his own keyboard - and play these little riffs, and I'd get to accompany him and he'd look over at me playing from over the top of his sunglasses. Sometimes he'd play something at me on his trumpet."

Setlist

Perfect Way

(Scritti Politti cover)

Star People

The Senate / Me & U

(Foley cover)

Jilli

Tutu

Human Nature

(Michael Jackson cover)

Wrinkle

Mr. Pastorius

Hannibal

Time After Time

(Cyndi Lauper cover)

On This Day 19/04/1989 The Vibrators

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On this day, 19 April 1989, British punk band The Vibrators played The Venue, Cardiff.

The Vibrators were founded in 1976 by Ian 'Knox' Carnochan, bassist Pat Collier, guitarist John Ellis, and drummer John 'Eddie' Edwards. They first came to public notice at the 100 Club when they backed Chris Spedding in 1976. On Spedding's recommendation, Mickie Most signed them to his label RAK Records. Most produced their first single, "We Vibrate". The band also backed Spedding on his single, "Pogo Dancing".

The Vibrators recorded sessions for John Peel at BBC Radio 1 in October 1976, June 1977, and February 1978. They were one of the pioneering punk bands that played at London's Roxy Club. They headlined in January 1977, supported by the Drones, and in February they played twice at the venue. In March 1977, the band supported Iggy Pop on his British tour. Later that year, they backed ex-Mott the Hoople frontman Ian Hunter.

The band signed to Epic Records in early 1977. Their debut album, Pure Mania was co-produced with Robin Mayhew, the sound engineer for David Bowie's Ziggy Stardust live shows, and reached the top 50 of the UK Albums Chart. The album is well regarded by some music critics and, 17 years after its release, The Guinness Encyclopedia of Popular Music named Pure Mania one of the 50 best punk albums of all time.

Their follow-up album, V2, narrowly missed the UK top 30. The only single to be taken from that album, "Automatic Lover", was the only Vibrators' single to reach the UK top 40 where it reached No. 35. It earned the band a TV appearance on the prime-time TV show Top of the Pops. The Vibrators' final single on Epic, "Judy Says (Knock You in the Head)", was released in June 1978. It reached No. 70 on the UK Singles Chart. Years later it was included in Mojo magazine's list of the best punk rock singles of all time.

During the 1980s, John Ellis recorded with Peter Gabriel, as well as recording and touring frequently with Peter Hammill, then subsequently the Stranglers, eventually joining the latter full-time in the 1990s. Pat Collier went on to work closely with the Soft Boys, producing their seminal album Underwater Moonlight, and Robyn Hitchcock, producing and mixing some of his solo albums (to which Knox also sometimes contributed). Phil Ram went on to form Able Ram and brought out two singles, "Disco in Moscow" and "Hope We Make It", although without any chart success. Despite numerous line-up changes, the Vibrators continued to record and tour as a three-piece, with "Eddie" being the only original member.

On This Day 04/04/1989 Green On Red

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On this day, 4 April 1989, American alternative rock band Green On Red played Cardiff’s The Venue.

Formed in the Tucson, Arizona punk scene, but based for most of its career in Los Angeles, California, where it was loosely associated with the Paisley Underground. Earlier records have the wide-screen psychedelic sound of first-wave desert rock, while later releases tended more towards traditional country rock.

The band began in 1979 as The Serfers, a four-piece made up of Dan Stuart (vocals/guitar), Jack Waterson (bass), Van Christian (drums, later of Naked Prey) and Sean Nagore (organ), quickly replaced by Chris Cacavas.

In the summer of 1980, the Serfers relocated to Los Angeles, where they changed their name to Green on Red (after the title of one of their songs) to avoid confusion with the local surf punk scene. Christian returned to Tucson and was replaced by Lydia Lunch sideman Alex MacNicol.

The band were about to release their fourth album Here Come The Snakes.

Recorded in Memphis, the album was produced by Jim Dickinson and Joe Hardy. Band members Dan Stuart and Chuck Prophet were backed by local musicians. Stuart and Prophet used the Sam C. Phillips Recording Studio, where they worked with Roland Janes.

"We Had It All" is a cover of the song made popular in part by Keith Richards.