On This Day 05/06/1947 Tom Evans

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On this day, 5 June 1947, was born Liverpool musician and songwriter Tom Evans, from Welsh band Badfinger, who scored the 1970 UK No.4 and US No.7 single 'Come And Get It'.

In November 1969, the Iveys changed their name to Badfinger, and Paul McCartney gave the group a boost by offering them his song 'Come and Get It', which he produced for the band.

With Pete Ham he wrote 'Without You' first released on their 1970 album No Dice. The song has been recorded by over 180 artists and versions released as singles by Harry Nilsson and Mariah Carey became international best-sellers.

Evans committed suicide on 19th November 1983.

After the departure of original bassist Ron Griffiths, Pete, Tom & Mike wanted, and tried, to recruit renowned Liverpool bassist Norm Bellis who'd previously partnered Tom in Liverpool band Them Calderstones. Norm was already signed to Apple but despite the support of his friend Mal Evans, he couldn't secure release from his contractual arrangements. Badfinger fruitlessly auditioned a replacement and with the arrival of Liverpudlian guitarist Joey Molland, Evans, who had previously played guitar, switched to bass and thus stabilised the classic line-up of Ham, Evans, Gibbins and Molland.

Badfinger enjoyed more major successes in the early 1970s with singles such as "No Matter What," "Day After Day," and "Baby Blue". Each featured some of Evans vocals; background harmony and dual lead. Evans' high-career moment was with his composition "Without You," a song co-written with bandmate Pete Ham. The song became a No. 1 hit worldwide for Harry Nilsson and has since become a standard in the music industry.

Badfinger dissolved following Ham's suicide in 1975, after which Evans joined a group called the Dodgers with Badfinger bandmate Bob Jackson. The Dodgers released three singles produced by Muff Winwood and toured Britain before recording an album, Love on the Rebound, with producer Pat Moran. Evans was eventually asked to leave the band midway through the recording sessions and he briefly retired from the music industry.

Evans resurfaced in 1977 to join Joey Molland for two Badfinger "comeback" albums. The first single of two from the first album Airwaves, was an Evans composition - "Lost Inside Your Love", but it failed to chart after its release in March 1979. The second album, Say No More spawned the Evans and Tansin single "Hold On", which reached No. 56 on the Billboard chart in 1981. Evans and Molland went their separate ways after this second album was released, and the two put together rival Badfinger touring bands in the US.

In 1982, Jackson rejoined Evans in the latter's version of Badfinger. Original Badfinger drummer Mike Gibbins was also enlisted for Evans' band for one tour. But after Evans and Jackson signed separate management contracts with a Milwaukee businessman, the trio of Evans, Gibbins and Jackson said they found themselves stranded in the US without tour dates, food, or money, and under much duress from physical threats. After returning to Britain, Evans was sued for $5 million in damages for abandoning his touring contract.

Evans hanged himself in his garden on 19 November 1983, at the age of 36. He got into a dispute with former bandmate Joey Molland over royalties for the song "Without You" the previous evening.

In 1993, a compilation of recordings made in the early 1980s by Evans and musician friend Rod Roach was posthumously released in the UK on Gipsy Records under the title Over You (The Final Tracks)

On This Day 02/06/2011 Public Image Ltd

On this day, 2 June 2011, English post-punk band Public Image Ltd, played Cardiff’s Coal Exchange.

Formed by lead vocalist John Lydon (previously known as the lead vocalist of Sex Pistols), guitarist Keith Levene, bassist Jah Wobble, and drummer Jim Walker in May 1978. The group's line-up has changed frequently over the years; Lydon has been the sole constant member.

Review - Wales Online

WITH a Tory government in situ, high unemployment and revolution in the air, it’s fitting that one of the ’80s prime politico-punk pioneers Public Image Ltd should choose now to return to the stage.

This was P.I.L.’s first appearance in Cardiff since a show at the Top Rank in the ’80s, and to say it was eagerly awaited by their fans would be an understatement.

I got the feeling this gig was all about self-expression. Yes, it attracted an older crowd, but if they were mostly a bit too old to do the expressing, punk legend John Lydon did all the self expression for them. He was presence personified as he leant out from the stage with his familiar stare.

Here was a man who holds his head high, and is defiant as ever.

I’m sure he knew all the words, but still, there was a lectern with the lyrics – used very infrequently.

There was no support band, but there’s not a lot of point in a support band on a tour like this – who would really care?

Without a support, P.I.L. felt the need to do a long set, but with an impressive array of albums behind them there were plenty of songs to choose from. This was a band that shouted and resisted all throughout the ’80s and had far more of an influence than they have been given credit for.

As you would imagine from a man never short of a thing or two to say, there was a good bit of banter throughout the night. Twice Lydon reminded us that “we are all friends here,” and when the icon questioned if there was another city in Wales beginning with S he received a few playful jeers.

Archie, my plus one on the night – who had seen The Sex Pistols play Cardiff back in the day – jokingly said perhaps he should throw his pint, but as Lydon told us all later – that is surely a waste of beer.

During the encore, with the familiar strains of P.I.L.’s biggest song, Rise, filling The Coal Exchange, a spate of pogoing and moshing broke out – and for few minutes at least we were all transported back to another era courtesy of a fine band and their legendary frontman.

4 out of 5

VIDEO - https://www.youtube.com/watch?v=0MiWfDMpAug

On This Day 01/06/1969 John Lennon/Give Peace A Chance

On this day. 1 June 1969, during a 'bed-in' at the Queen Elizabeth Hotel in Montreal. Canada, John Lennon and the Plastic Ono Band recorded 'Give Peace A Chance' an anti-war song written by Lennon (originally credited to (Lennon and McCartney), and recorded with the participation of a small group of friends.

In Room 1742, André Perry, owner of a local recording studio, arrived and used a simple setup of four microphones and a four-track tape recorder he brought with him.

The recording session was attended by dozens of journalists and various celebrities, including Timothy Leary, Rabbi Abraham Feinberg, Joseph Schwartz, Rosemary Woodruff Leary, Petula Clark, Dick Gregory, Allen Ginsberg, Roger Scott, Murray the K and Derek Taylor, many of whom are mentioned in the lyrics. Lennon played acoustic guitar and was joined by Tommy Smothers of the Smothers Brothers, also on acoustic guitar.

The song has grown over the years to become THE song to be sung at anti-war demonstrations or protests all around the World and sung sadly with great regularity.

Back last year (2022) a small group of friends and myself had the good fortune to be visiting Montreal, staying just a short walk to the Queen Elizabeth Hotel.

Having a few hours to spare and being Beatle fans, the opportunity to take a look at the hotel was to good to ignore and after a few photos outside the hotel we sauntered into the foyer to look for any references to the song and Lennon’s much reported visit.

We were pleasantly surprised to find the song and visit well documented with images and references in the foyer never thinking that we may get a glimpse of the room itself. but, as luck would have it, a casual mention to a hotel staff member lead to a wonderful and unexpected experience and something to cherish.

The receptionist pointed us in the direction of the hotel porters and after introducing ourselves were told, ‘It may be your lucky day” and to wait and speak to his colleague who was about to go on break.

Jumping in the lift we were taken to the very room that Lennon and Ono had stayed in which was now almost a shrine in honour of the momentous occasion and still used by visiting Presidents, Politicians and the odd movie star.

The room had been lovingly restored, packed with information and images and a real treasure and a treat for anyone who loved Lennon and anything Beatle-related.

The Porter, who had worked at the hotel for many years told stories about the time from work mates who were actual there during the ‘bed-in’ which was fascinating and certainly made our visit something that we’ll always remember with great affection and how lucky we were to visit the scene of such an iconic moment in musical history.

On This Day 25/04/2006 Sonic Boom Six

On this day, 25 April 2006, Manchester band Sonic Boom Six played Cardiff University.

Their eclectic sound combines different elements of several genres and has been described by Kerrang! as "taking ska, grime, dubstep, punk and metal apart then rebuilding them as a hyperactive hybrid".

In 2006, the band recorded their second session for BBC Radio 1's The Lock Up, which was broadcast on 27 June. They were joined by Pete and Tucker from Jesse James and Itch from The King Blues. Their debut full-length album, The Ruff Guide to Genre-Terrorism, was released on 10 July 2006 on London label Deck Cheese Records, also home at the time to Phinius Gage, Sick On The Bus and Jesse James.

In August 2006 the band played the Reading and Leeds Festivals as a last minute replacement for Paramore. They were joined again by Itch of The King Blues for a performance of "All In" (singing the parts of the song written by Coolie Ranx) and Nick 'The Blade' Horne of Howards Alias, partner of vocalist Laila, who played trombone on the songs "Bigger Than Punk Rock" and "Until the Sunlight Comes".

Sonic Boom Six previously performed acoustically under the name Babyboom, and recorded a self-titled EP in February 2006. Whilst the band (with their current line-up) do occasionally play acoustically, it is usually billed as "Sonic Boom Six Acoustic", as opposed to "Babyboom".

On This Day 03/04/1972 New Seekers

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On this day, 3 April 1972, pop/folk group the New Seekers, Britain’s entry for the 1972 Eurovision Song Contest played Cardiff’s Capitol Theatre.

Formed in London in 1969 by Keith Potger after the break-up of his group, The Seekers.

The idea was that the New Seekers would appeal to the same market as the original Seekers, but their music would have pop as well as folk influences.

Almost immediately after their appearance at the Usher Hall, Edinburgh, in the 1972 Eurovision Song Contest, the New Seekers set off on their second tour of the UK. The artwork and photos used for the tour programme mirrored the artwork and photos on the sleeve of their Eurovision single Beg, Steal Or Borrow.

The group performed the following songs: Beautiful People; Beg, Steal Or Borrow; Blackberry Way; Fire And Rain / My Sweet Lord; Georgie Girl [sic]; Good Old Fashioned Music; 'Hair' Medley; I Believe In Music; I'd Like To Teach The World To Sing; I'm A Train; Look What They've Done To My Song, Ma; Never Ending Song Of Love; Nickel Song; One; Tonight; When There's No Love Left.

On This Day 02/04/1969 Led Zeppelin

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On this day, 2 April 1969, legendary rock band Led Zeppelin played Cardiff’s Top Rank. Support was provided by Kimla Taz and Eyes of Blue for what was promoted as a ‘Progessive Blues Night’.

Review: It all went a bit pear-shaped when Led Zeppelin did a benefit gig in Cardiff back in 1969.

The Progressive Blues Night at the Top Rank was in aid of the Biafran Relief Organisation. Unfortunately only 450 people turned up to watch and the charity event actually lost money to the tune of £100.

However, those who did go were treated to a technically brilliant performance. Opening number Communication Breakdown demonstrated why Led Zep's debut album was riding so high in both the US and UK charts.

Robert Plant's vocal virtuosity and Jimmy Page's nimble fingers whipped up the faithful into a tumult.
The show continued in the same pompous rock-god vein until How Many More Times.

This 15-minute epic was meant to be the evening's highpoint showcasing Page's incredible guitar skills. However, an engineer accidentally activated the revolving stage causing jack plugs to be wrenched from their sockets whilst others were snapped off completely.

The gig ended at that precise moment. For several seconds afterwards though arguably the greatest rock band in history stood on a revolving stage in Cardiff mutely playing to a bemused and constantly shifting crowd. (by Anthony Brockway)

Zep fan John Hughes recalls the gig ( taken from Zep fan site)

I was at that show too, having seen Led Zep in Mothers Club in Birmingham a few days before this show. Memories of the night are spot on, and not romantically tinged, as I vividly remember the stage turning and the PA starting to get dragged over.

I knew someone organising the show and he told me afterwards that Peter Grant had run-up to the balcony where the stage control box was and very nearly threw the poor engineer out of the window down to the dance floor!

I have to say however that I believe there were far more there than 450 there, as mentioned in the original review, but maybe the passage of time.

And strangely enough, I moved to the Midlands a few years later and in something like 1990 I was queueing at my local W H Smith and I thought the guy in front of me looked familiar ... it was Robert Plant, who lived not far away from me (ie his village wasn't too far away from my village).

Never one not to seize the moment, I mentioned to him that the last time I as close as this was in 1969, at that Cardiff show.

He became suddenly cautious, obviously thinking "I've got a right one here", and I mentioned the infamous PA incident - and a bit to my surprise, he sort of paused - looked like he was giving it some thought - and said, "yeah, I remember that."

I like to think he wasn't humouring me ; - )

On This Day 23/03/1968 Tom Jones v The Beatles. Amen Corner drop Rock ‘n’ Roll

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On this day, 23 March 1968, it was reported in the music press the battle for the number 1 spot between Tom Jones and The Beatles.

Tom’s “Delilah” was challenging Esther and Abi Ofarim for the top spot but The Beatles “Lady Madonna” released only last Friday leaped in at number three. The Beatles single has already passed the 250,000 mark in the UK and sold over a million in the USA.

Said Ringo this week : “It’s great news’” “Lady Madonna” is the song that Ringo admitted was “Almost a return to rock and roll”

He said: “It was loosely based on Humphrey Littleton’s jazz hit “Bad Penny Blues”.

Tom Jones, who opens today at the Flamingo in Las Vegas, has signed for a six and a half week season at Bournemouth’s Winter Garden. He will be backed by the Ted Heath Orchestra and the show will also star Roy Castle.

In October Tom undertakes a 17 day tour of South African cities and returns to start a major UK tour.

Also it was reported :

AMEN CORNER are to drop all rock-'n'-roll from their act so as not to be accused of jumping on the Rock Revival bandwagon.

Andy Fairweather-Low told the MM this week: “The group feels we wish to disassociate ourselves from the current trend.

“We were playing rock numbers in the act over 14 months ogo but we are now dropping them. We are going to take three days off to re-vamp the act and rehearse new numbers.”

Organist Blue Weaver and road manager Mike de Minter were taken to hospital when gale force winds turned the group's wagon over at Nay-hole,

Ayrshire, on Saturday afternoon, Blue hurt his hand and was unable to play. He hopes to return to the group today (Thursday).

The Blockheads - Acapela Studios, Pentyrch, Cardiff

Images copyright Tony Woolway

There a few bands that could survive the demise of such a leading light and consummate performer such as Ian Dury, yet his backing band The Blockheads have survived and flourished despite such a catastrophic loss.

What The Blockheads provided for Dury was musicianship of the highest order and in particular, guitarist and keyboard player Chaz Jankel, Dury found someone who could embellish Dury’s witty and sardonic lyrics in a way never tried before in UK popular music.

A constant on the touring scene, and despite losing some unique talents on their journey, the latest version of this great band played the Acapela Studio on Friday evening, the first of two gigs planned at this splendid venue.

Featuring three of the original cast members, Chaz Jankel (guitar/keyboards), John Turnbull (guitar) and Mickey Gallagher (keyboards), the seven piece band set of in blistering fashion with their opener being one of the bands big fan favourites, the opening track on their classic debut album ‘New Boots And Panties - "Wake Up and Make Love with Me" with the excellent bassist Nathan King setting the pace, subbing for the band’s legendary Norman Watt Roy.

Stepping into the Dury role, Mike Bennett takes it all in his stride. Being the band’s main focal point, his performance was vaudevillian with great humour, connecting well with the audience and vocals uncannily Dury-like, most evidently in ‘What A Waste” and “There Ain't Half Been Some Clever Bastards”.

Every tune played from the band’s stunning back catalogue got the full Blockhead treatment with Gallagher, Turnbull and Jankel in exceptional form whilst Dave Lewis (saxophones) and John Roberts (drums) provided great support with some screeching sax and thundering drums respectively.

Highlights in a quite special evening for this long-term Blockhead fan was a riveting “Sweet Gene Vincent” and the hit “Reasons To Be Cheerful” with the group’s anthemic “Blockheads” with it’s poke at Essex stereotypes completing the memorable evening.

They've got womanly breasts under pale mauve vests

Shoes like dead pigs' noses

Cornflake packet jacket, catalogue trousers

A mouth what never closes

- from "Blockheads" (1977)

Images copyright T Woolway/TCPhotography©