I am a musician who lives in and has been part of the Milton Keynes’ music scene for many years. I compose music using Logic X on a Mac, for my own pleasure. I write tunes for ceilidhs with The Cock & Bull Band, playing sax and keyboards. I also play drums with Milton Keynes folk-rock-legends Togmor. If you need some music composing then get in touch. If you need a top ceilidh band with exciting and original music then look no further than The Cock & Bull Band and if folk-rock is your thing and you want a concert, then Togmor are just what you need. Contact me by email or phone and l’ll do my best to help you organise your event. Check out the pages on this site to find out more detail about each band, hear music tracks and discover the music I’ve been involved with.
Togmor were formed in 1988 by Ian Rowe and quickly established themselves as Milton Keynes premier folk-rock band. Their tenth anniversary was celebrated with their own festival “Togfest” held at Bradwell Abbey Milton Keynes. The line-up has changed many times and when asked in 2014 to join the band, it was an easy decision. I play my “retro-vintage” drum-kit and also flute & backing vocals. We began recording Togmor’s third album in 2018 with Steve Askew at Grove Road Studio and celebrated the band’s 30th anniversary with a concert featuring almost every former and current band member. The current members are Ian Rowe; guitars & vocals, Pete Jelfs; bass & vocals, Pete Lockwood; drums, flute & vocals, Euan Forester; violin & guitar, Ryan Fitzsimmons; violin & guitar and Ryan Lockwood; violin & vocals. This line-up played at the album launch late 2019 and with Togfest 2021 postponed again, we played a live-stream gig on “Togfest-week. 2022 saw Togmor finally playing Togfest along with Towersey Festival & several private functions. For further information check www.Togmor.co.uk & Togfest.org
As a composer of both songs and instrumental music I have created music for public and private commissions. I was a percussion teacher with Milton Keynes Music Service, leading junior samba bands and percussion ensembles at concerts and public events for many years, until retiring in 2019. I could still be persuaded to train and lead a junior or senior samba band. Over the many decades of making music in and around Milton Keynes I have performed with some of the most successful bands in the city, playing gigs at just about every venue there is or has been. Back in the eighties I wrote a music page in a local newspaper helping to consolidate the city’s burgeoning music scene and paving the way for regular press coverage of local music. My playing has featured on a wide range of vinyl and CD releases, much of which is now available. Further details of how to find my music and the music of the many bands I've performed with along with details of how to contact the bands can be found on this site. The most recent CDs are my album Cock & Bull Re-imagined, Music From The Tempest, Togmor's 3rd album simply titled "Togmor" and a compilation CD A Cock & Bull Story Vol 2. All four are available to listen to, download or buy as a CD from Bandcamp.
This CD Cock & Bull Re-imagined has been many decades in the making. With the band's 40th in 2019 rapidly approaching and no opportunity to produce & record a band album, I decided to do an album myself. I had written half a dozen tunes in anticipation of a band album and whilst recording these tracks I began picking out fav tracks from the band's extensive repertoire. Each tune was reinterpreted and arranged in a different way. The original working title of "No Bull, All Cock!" was replaced by Cock & Bull Re-imagined after hearing Trever Horn talking on the radio about his album The 80s Re-imagined. With a dozen tunes recorded I picked a couple of tunes that were originally destined for Cock & Bull but ended up being recorded by my other ceilidh band Asha. These two were added to the album and the final track was a new tune written at the end of the recording, inspired by the whole recording experience. The tracks were then sent to my brother Dave who added electric & acoustic guitar to most of the tracks and mixed the album adding production sparkle. The album was released just in time for Towersey Festival 2019 and has received very positive reviews. And then came covid....so it remains a bit of an unpromoted hidden gem of the folk world. All the instruments were played and recorded by myself and my brother Dave and include keyboards/synths, soprano & tenor sax, flute, recorder, drums, bass and electric & acoustic guitars. It was recorded using Logic X. The tracklist is as follows:
Beau Nash, Kus Mijn Kloten, An-Dro Logique Dix, The Step Beyond, Jumping For Jehovah, A Fistful Of Garlic, Folk Theory, Changing The Lawndry, Obonjan To Oxford, Sun Hall/Carmargo, Lappa Valley, Rond Du Quercy, Chasing The Polekat, Miranda's Waltz and 21st Century Schizoid Donkey.
Whilst there are short audio clips on this website, if you want to listen to the album you'll need to head to email@example.com from where you can also download it. You can also order a physical copy direct from me. Phone/text 07810437431 or email firstname.lastname@example.org
Togmor play exciting folk-rock songs and tunes with a Celtic zest. Togfest is an annual event that takes place every summer at Bradwell Abbey, showcasing a wide range of local bands, as well as nationally known bands such as Solstice, Stray & Eddi Reader. TOGMOR always close the show and have themselves performed at many festivals including Glastonbury, Cropredy, & Towersey. TOGMOR were formed in 1988 by Ian Rowe and quickly established themselves as Milton Keynes premier folk-rock band. Their tenth anniversary was celebrated with their own festival “Togfest” held at Bradwell Abbey Milton Keynes. The line-up has changed many times and when asked in 2014 to join the band, it was an easy decision. I play drums and also flute & backing vocals. We began recording Togmor’s third album in 2018 with Steve Askew at Grove Road Studio and celebrated the band’s 30th anniversary with a concert featuring almost every former and current band member. The current members are Ian Rowe; guitars & vocals, Pete Jelfs; bass & vocals, Pete Lockwood; drums, flute & vocals, Euan Forester; violin & guitar, Ryan Fitzsimmons; violin & guitar and Ryan Lockwood; violin & vocals. This line-up played at the album launch late 2019 and will be headlining Togfest 2022 on Saturday 25th June. For further information check the Togfest and Togmor websites.
Ian Rowe & Pete Jelfs live at Togfest, Bradwell Abbey.
Euan Forester violin, Pete Lockwood flute & Ian Rowe guitar.
L-R Ryan Lockwood, Ryan Fitzsimmons,Euan Forester, Ian Rowe & Pete Jelfs. Pete Lockwood on drums at back.
Ian Rowe. Togmor founder plays acoustic & electric guitars and sings the songs. He has masterminded the band through many changes.
Euan Forester is Togmor's violin player who has grown up immersed in traditional and contemporary Scottish violin music. He also plays electric guitar.
Pete Jelfs provides the rock solid bass to Togmor's trademark sound. He is the second longest serving member. He also sings backing vocals.
Ryan Lockwood plays violin and sings backing vocals. He joined Togmor in 2019 and plays many of the violin solos.
Pete Lockwood joined Togmor as their drummer in 2014, also playing flute & singing backing vocals. (No relation to Ryan).
Ryan "Fitz" Fitzsimmons plays violin and electric guitar. He also joined Togmor in 2019 with Ryan L. His guitar playing very much suits Togmor's music.
I have been in The Cock & Bull Band for most of its many years of creating innovative and exciting music. We also play music for ceilidhs. Some of the tunes are traditional English or French but most of our tunes are original compositions written by band members, including myself and former French pipe player Jean-Pierre Rasle. I play keyboards on a Yamaha Synth and run programs on a Mac using Logic X. Drum patterns, bass-lines and synth pads, loops & arpeggios can run in synchronisation with live instruments and are mixed, along with all the “live” instruments from a sound-desk at the side of my keyboard set-up. Not all tunes are played with Logic X running and on other “organic” tunes I play a bass drum whilst standing at the keys, anchoring the rhythm and providing a driving pulse to our music. I also play saxophone on some tunes, sometimes over tunes while Logic X is running, sometimes as part of “organic” tunes, especially when Vanda takes over the keys. Many tunes are led by Vanda on clarinet or sax, along with our newest member Lynn Swain on flute. Both Lynn & Vanda also play recorders. The line-up is completed by Paul Martin who play Mandola, which is an 8 stringed instrument like a large mandolin. His rhythmic chord-work is augmented by lead lines and funky fills. We have spent the last decade re-establishing ourselves on the folk festival & ceilidh circuit, after original member, pipe player Jean-Pierre, moved back to his native France. The band celebrated its 40th anniversary in 2019. To mark the occasion the compilation CD “A Cock & Bull Story Vol 2” was released along with my own celebration CD “Cock & Bull Re-imagined”. Both CDs are available from this and the band’s own website and can be downloaded from Bandcamp. www.cockandbullband.com for more info
For the few that are interested in "tech" details.
This is the view from my keyboard set-up using an ancient (and now considered vintage) Yamaha SY77 synth triggering an even more ancient Yamaha TX7 sound module, along with voices and samples from Logic X. On top of the keys is a Roland Octapad that triggers the drum samples from that little device on the left of the keyboard which is an Alesis SR16 drum machine. It all goes through the mixing desk, out of site on the left which drives our PA. Separate monitor mixes are sent (and constantly "tweaked" to the other three band members. The pic was taken from the stage in The Sky Room at Milton Keynes Art Gallery on the night of our homecoming and local 40th anniversary celebration ceilidh, with our regular and long time caller Michael Catovsky. It was a great night. It was just before the "first" lockdown and since then all gigs have continued to be postponed until 2022.
Originally a “rock drummer” I first encountered the folk ceilidh world playing drums with ex-Cock & Bull Band members Brad Bradstock & Bob Shakeshaft in a band that included future Cock & Bull member Steve Cobham. After teaming up with Paul Martin & Jean-Pierre Rasle I embraced the folk ceilidh world, carving my own niche fusing synth based keyboards and computer technology to create a signature sound that has been a feature of Stony Stratford’s very own The Cock & Bull Band www.cockandbullband.comboth as well as with ASHA, my other ceilidh band, I also play an electronic percussion pad and adds my own jazz influenced sax playing on many tunes. You’ll also see me tweaking controls on the band’s mixing desk as I deal with the frequently changing live sound requirements.
L-R Paul Martin, Mandocello. Jean-Pierre Rasle, Pipes, Recorders, Crumhorn, Vocals. Pete Lockwood, Keys, Saxes, Electronic percussion & Vanda Sainsbury, Clarinet, Saxophone, Recorders, Vocals .It wasn’t called “The Cock & Bull Band” when I started making music with Jean-Pierre & Paul Martin. The three of us became “The Band”, shortening the name to just “Cock & Bull” when two members left.. We recorded “Concrete Routes and Sacred Cows”, released as a vinyl album on Rogue Records, which received great reviews and established the new line-up as a revitalised creative force. This was followed by our first CD release A Cock & Bull Story (vol 1). When Vanda Sainsbury joined, the musical possibilities and creative energies resulted in the quartet recording three classic CDs for Mrs Casey Records and once again, adopting the name “The Cock & Bull Band”. These CDs “Below The Belt”, “Pumped Up & Loaded” and “Encore Du Vingt”, all had a “concert flavour” to the arrangements and the band were often booked to play a concert as well as a ceilidh. Vanda left for a study sabbatical in 2000 and her place was taken by guitarist Steve Cobham, giving the band a different feel for the decade long life of this line-up. The current line-up is Pete Lockwood, keys/sax/technology. Paul Martin, Mandocello. Vanda Sainsbury, clarinet/sax/recorders/keys & Lynn Swain, flute/recorders. The global pandemic curtailed all live band activity, but we bounced back in 2022 and certainly are looking forward to 2023.
These three excerpts are Stony Move , Le Jaywalker & Peartree Bridge from the CD album Pumped Up & Loaded. Available at live gigs & soon to be available on Bandcamp. Or contact this page directly and we'll get a copy to you.
Download or listen to the album on Bandcamp
THE GUARDIAN: TONY ROSE REVIEWS CONCRETE ROUTES & SACRED COWS
Cock & Bull is another band which has sloughed off an old skin to re-emerge in a new slimmed-down version. The ubiquitous Jean-Pierre Rasle, however is still there and it is his virtuosity on French and English bagpipes and a variety of other wind instruments which determines the continental nature of the band while exuding Gallic flair. With Pete Lockwood playing sax as well as keyboards, it is inevitable that the band is strong on melody, and fully exploits its harmonic possibilities over largely synthesised rhythm lines. The band’s Anglo-French repertoire - the self styled baroque ’n’ roll - has a strong jazz flavour and is performed with great panache. A brawl in Milton Keynes will never be the same again.
Tony Rose. The Guardian.
FOLK ROOTS: COLIN IRWIN REVIEWS CONCRETE ROUTES & SACRED COWS
This crew have seen a bit of life in their time since they first emerged thoroughly Hemlocked as the pride of the Home Counties. At one time at the very vanguard of the dance explosion, all gadgets and grand ideas, they’ve resurfaced in 1989 as a radically stripped-down no-nonsense version of their former selves. These days there are just three of them - Pete Lockwood, Paul Martin and their trusty French piper Jean-Pierre Rasle. Yet against the odds and against the tide of those heady days when they threatened to take dance music into a more complex planet entirely, they’ve actually returned with a richly pleasing and highly varied collection.
They doodle wittily - embarking on the whole adventure with rare panache, using technology shrewdly, without letting it use them, leaping off from the blocks initially with a startling recreation of the hammered dulcimer sound before the more worldly impact of Lockwood’s sax and Rasle’s pipes join the fray. They subsequently dip their toes into a pretty daring cross-section of styles, drifting from English Morris music to hornpipes to French dance tunes….with liberal overlapnand interplay between them. That such disparate musics hang comfortably together is a tribute to Cock & Bull’s relaxed yet determined approach to it all. They are clever with their arrangements and they do hit the nail on the head with comforting regularity - there are shades of Moving Hearts about Stony Brawl, and the way that Beau Nash builds its rhythm into a roaring climax while managing to retain its essential delicacy is ingenious. In fact, every time Lockwood goes near a sax and Rasle is left to paint the patterns then Cock & Bull really begin to motor. Milton Keynes, sacred concrete cows and all, may be very content with this.
Colin Irwin. Folk Roots.
The Bagpipe Society: Review of Cock & Bull Band at Beltane Ceilidh, Rochester Sweeps and Concrete Routes & Sacred Cows album.
. Much of the material on their new album, Concrete Routes & Sacred Cows was used at the dance to excellent effect. Not that it’s exclusively a dance album, in fact it’s a long time since I’ve heard a more beautifully balanced selection of material on an album.. It’s their first record with their current line-up (Jean-Pierre Rasle, Cabrette, Grand Cornemuse, Bechonnet, Half Longs, Crumhorn and recorders; Pete Lockwood, Keyboards, Saxophone, Sequences and Electronic Percussion; Paul Martin, Mandocello, Appalachian Dulcimer and triangle) and is undoubtedly their best to date. Don’t be put off by the term electronic percussion, by the way. It’s not a drum machine but a proper “bash it” instrument, which needs a real human to make it go. The album is a real showcase for Jean-Pierre’s pipes, without it being “pipe or drone” dominated. It’s very foot-happy stuff (cop an earful of Pete Lockwood’s Lunch In The Pub, if you haven’t already heard it - this one’s destined to become a folk/bagpipe standard), rhythmically reminding me of the best of the Albion Band. Go out and buy it now. You won’t be disappointed.
Download or listen on Bandcamp.
CD Reviews FOLK ROOTS REVIEWCock & Bull. Below The Belt. CB104. Cock & Bull’s Below The Belt is positively tasteful and restrained. This is probably an illusion brought on by the acoustic instruments, bagpipes, clarinet, recorder, saxophone, dulzaine, mandocello - being mixed well to the fore, compounded by the bandmembers’ consulate instrumental skills.Listen to “8:30 Trop Tot/Mrs Waghorn/KBSM” for example. So beguiling is the combination of saxophone and bagpipes, so accomplished the musicianship, that it’s impossible to tell where one artificial musical pigeonhole ends and another begins. But then Cock & Bull are past masters at this - they’ve been breaking down barriers for decades. They’ve also contributed a number of original dance-tunes to the repertoire over the years and Below The Belt is well up to standard in this department - particularly Jean-Pierre’s corking title track and Pete Lockwood’s “Penguin Brawl” which almost demand to be danced to. An album then, to keep both head and feet happy and reinforce my view that much of the best roots music around today is to be heard in the dance halls.
SHIRE FOLK REVIEWCock & Bull. Below The Belt. CB104. Mrs Casey Music.Funky Franglais folk-jazz fusion from Jean-Pierre Rasle (assorted bagpipes, recorders and vocals), Pete Lockwood (sax, keyboards, electronic percussion), Paul Martin mandocello, Appalachian dulcimer) and latest addition Vanda Sainsbury (clarinet, piano, recorders). The album contains mainly self=penned dance tunes, with titles like “Trip to Sainsburys” and the “RSJ”, there are two splendidly mournful traditional French songs, “La Mal Mariee” and “Le Pauvre Laboureur”, with bagpipe drones and tingly modal harmonies from clarinet and sax respectively. The final suite, “L’accidentelle/Andronov-O/L’Olympia”, is an almost symphonic build-up of textures and rhythms that culminates after 7 minutes in a glorious triumphant climax. I’ve been playing this almost daily since it arrived. I love the haunting tunes, the quirky key changes, the chunky rhythms and the expertly handled combination of traditional and modern instruments - in the wrong hands the mixture could be utterly disastrous, but Cock & Bull are four of the most able and innovative musicians around. Definitely more than just a dance band! Buy this - it’s their best yet.CL SHIRE FOLKFolk On Tap CD Review
COCK & BULL BAND: Below The Belt:
You know the word eclectic? Well it must have been invented especially for The Cock & Bull Band. This CD represents exceptional value with over an hour’s performance from one of this countries finest dance bands. The band swing with a ferocity and guile unmatched elsewhere. Their unquestionable excellence is aided by some splendid production, which continually turns out crafted recordings. This album expands on their previous “A Cock & Bull Story” CD collection moving deeper into textural atmospherics without ever losing sight of dance floor dynamics. Jigs, bourrees and waltzes, are all stirred into a commercial cocktail by the band that breathes quality, burns tradition and pays in cash. It’s no surprise that The Cock & Bull Band have rolled the competition flat.
GW Folk On Tap
Download or listen on Bandcamp.
UNICORN ALBUM REVIEW Pumped Up & Loaded: Cock & Bull The present line-up of Rasle, fellow-founder member Paul Martin, Pete Lockwood and Vanda Sainsbury produces a fusion between traditional folk, rock and jazz. The resulting album is thoroughly eclectic and full of contrasts.As one would expect, there is a decidedly French feel to much of the music, but this is not the only influence. From the beautiful whistle and sax on “Montmiral”, through traditional French songs (my favourite is “Jeanneton”), to moody, late-night jazz in “The Reaper” and out and out rock with the last track, Peartree Bridge, this collection keeps you on your toes - there are twists in every tail!All the band have composing credits, mostly from Rasle and Lockwood, although I especially like the infectious “Panique Cous Cous” by Vanda Sainsbury and Paul Martin’s “Polekat”. Despite the wide variety of styles brought to bear on the tunes, this is also a very danceable band. Containing 21 tracks, printed song lyrics and detailed instrument information, “Pumped Up & Loaded” is yet another example of the recent output from Mrs Casey Records. Sensitively produced by Dave Lockwood, who also appears of the disc playing electric guitar and bass, this is music for listening, dancing and above all, enjoying - need I say more?
Folk On Tap The Magazine of the southern counties folk
federation.COCK & BULL BAND: Pumped Up & Loaded. Mrs Casey Records MCRCD 6992Class is something you ooze rather than discover in a pint of booze. The case in point? Cock & Bull were always at the vanguard of English country dance music. Whilst many tried to become an all-singing, all-dancing, all-juggling family entertainment folk group. Cock & Bull were impassioned and assured enough to transcend the half measure feel of their country dance contemporaries. In 1985 Ashley Hutchings recognised their worth and drafted them wholesale into the Albion band’s ranks.“Pumped Up & Loaded”, the band’s fifth album, is meltingly gorgeous, with an instrumental sound throughout that’s a succulent stew of the contemporary and the traditional franglais. From the uplifting opener, “Stony Move” to the closing “Peartree Bridge”, the 21 tracks consistently delight the ear. If like me, you live next door to Beautiful South fans, this is the record to play at full volume at 3am. This is what great music sounds like when you’re inspired-a mysterious, heroic, wondrous racket. GW.EDS English Folk Dance & Song SocietyCOCK & BULL BAND. Pumped Up & Loaded.21 tracks of the CB’s original Anglo-French folk-jazz fusion - mostly instrumental, but punctuated by a handful of French songs.The main architect, as usual, is Jean-Pierre Rasle, with Pete Lockwood contributing an increasing amount of material.Vanda Sainsbury’s sax and clarinets given the band its most vibrant and up front feel ever, complementing the pipes and Paul Martin’s mandocello.The tunes work well, and though this is billed as a concert album, they are superb for dancing to. But for me it was the songs that really made this. There is a French murder ballad, a drinking song “Vive Jeanneton” (long live Jeanneton) and even a sort of French “Hal An Tow” called “Voice la St Jean” (Midsummer is coming).Cock & Bull have always been slightly unfashionable which has allowed them the freedom to go their own way and do exactly what they like. With results like this long may it continue.Andy Helmsley.EDS English Folk Dance & Song Society.
This CD is now available to listen to or download from Bandcamp. https://thecockbullbanduk.bandcamp.com/album/a-cock-bull-story-vol-1
REVIEW OF A COCK & BULL STORY
Not a greatest hits collection, but a history, with a few extra unreleased tracks added for your delectation. Contrast the two variants of “Donkey Riding” to see how far they’ve come. Not that there’s anything wrong with the earlier material, there isn’t. It’s just that by 1991 they had created an identity which is uniquely their own. This CD takes us through the changes. From a Southern English (style) bellows and skulls band, through to tentative electric dabblers, before finally settling for today’s acoustic electronic band. Many favourites are included, “Prince Fredericks” was used by Ashley Hutchings for his Gloucester Docks album. “Lunch In The Pub” continues to please and is representative of the band’s current position. If you’ve had a good night with them and want to see the complete picture, then this is a must. £9.99 from Cock & Bull Records: c/o J P Rasle 171 High Street, Stony Stratford.
Cock & Bull - A likely story
A Cock & Bull Story traces their ten year history from the early days as The Hemlock Cock & Bull Band, one of the stars of the great English country dance band explosion, to the current, rather more adventurous trio known simply as Cock & Bull. It draws largely on their three records All Buttoned Up, Eyes Closed And Rocking and Concrete Routes & Sacred Cows, but also includes a version of Donkey Riding/Buffalo Girls from the very first line-up (before Paul Martin’s bass replaced Brad Bradstock’s euphonium) and a sprinkling of new tracks from the line-up including Pete Lockwood’s keyboards, saxophones and percussion wizardry - freewheeling versions of the likes of Speed The Plough, Horse’s Brawl and a rechristened Monkey Riding. The one constant in The Cock & Bull Story has been Jean-Pierre Rasle whose French and English bagpipes, crumhorn and recorder have naturally given characteristic colours to the sound, whether alongside Dave Whetstone’s melodeon or the more modern keyboard sounds. Also constant has been playing, brimful with vitality, intention, wit and a determination to go their own way with their Anglo-French repertoire. There are fifteen tracks here including such classics as William Irwin’s 1 2 & 3, Lunch In The Pub and Modal Hornpipe/Beau Nash. I must confess a particular fondness for Cock & Bull and this CD will do very well and is a perfect introduction to a wonderful group.
Download or listen on Bandcamp.
NO BULL-IT’S A NICE SURPRISE.
Encore Du Vingt-The Cock & Bull Band.
You know when you open a bottle of wine and it’s not quite what you expected, but turns out to be a pleasant surprise? So it is with Encore Du Vingt by The Cock & Bull Band. It’s hard to believe they have been on the Stony (and elsewhere) scene for 20 years, but here it is, the culmination of those years in a celebratory CD, offering an eclectic vintage selection of their delicious blend of French and English traditional music-but with a kick.
You can’t define their style - ‘electropipingstringstrummingdrum’n’basstechno’ probably comes closest - and just when you think they’ve settled into a groove, they’ll spring another surprise on you. From polkas to waltzes, brawls to rants, there’s a little bit of everything.
Add to that the fact that you can hire The Cock & Bull Band for your own ceilidh….they bring PA, lighting, kitchen equipment…all you need to do is book a venue, tell your friends “it’s time to dance” and just leave the rest to them.
Details from Mrs Casey Music. 01296 394411
Laura Sobey. MK Citizen.
Encore Du Vingt. The Cock & Bull Band. Mrs Casey Records.
The Cock & Bull Band are yet another outfit celebrating their longevity with a CD release. The current members, Pete Lockwood, Paul Martin, Jean-Pierre Rasle and Vanda Sainsbury have given the band a consistent run of eight years and three albums that has seen them carve their own path through the folk festival and ceilidh scene. Their own highly individual sound and approach appears to be aiming towards the 21st century whilst taking an affectionate nod to their more traditional past. Indeed, when you include the trio years of Cock & Bull with their groundbreaking Concrete Routes album, this more electronic, jazz tinged bagpipe and sax driven music IS the band’s signature sound. Whilst some still think of the original melodeon led Hemlock version, it’s easy to forget that more traditional band were only around for a short time, in comparison.
So, what of this CD? The opening tune with its heavy synth riff, tabla and sitar samples and stratospheric bagpipe intro is enough to send die-hard folkies running for cover, but is followed by a traditional French song. Expect the unexpected! There are two beautiful waltzes from Jean-Pierre and also one from his grandfather that are as traditional as anything in the band’s entire repertoire and contrast wonderfully with the synth and drum grooves in tunes such as “Peaslake Mafia” or the quirky “Nifty Thrifty”. The pair of bourees, written by Sainsbury and Rasle, are just exquisite and show the band’s ability to create constantly shifting moods and atmospheres to perfection. There’s even a moody cover version of Gabriel Yacoub’s travelling musician’s lament “Voyage” with some sensitive piano playing. Their new regular caller Michael Catovsky even gets his own tune…a march signifying perhaps, the band’s march away from their earlier incarnation. Recorded at The Lodge Studio and produced like the two previous albums, by Dave Lockwood, who adds some tasteful guitar, Encore Du Vingt is a fitting tribute to a band that have always gone their own way and continue to move onward into new territories, whilst acknowledging the influences that have inspired the journey. Encore Du Vingt…More of twenty. Yes please. We’ll settle for that. One gripe though. Only The Cock & Bull Band would release a 20th anniversary CD with just nineteen tunes…obtuse or what? Did they run out of material? Surely a swift blast through their Donkey Riding anthem would have completed the job.
A Cock & Bull Story Vol 2 is available on Bandcamp to download or listen to. https://thecockbullbanduk.bandcamp.com/album/a-cock-bull-story-vol-2
A Cock & Bull Story Vol2.
The Cock & Bull Band have been out of the limelight for quite some time. Ever since the departure of their piper Jean-Pierre Rasle, many have written them off. I’m pleased to say that they are still alive and well and if social media is to be believed, still gigging. Founder member Paul Martin is still there, as is keyboard and technology chap Pete Lockwood and it’s good to see the welcome return of Vanda Sainsbury who left the band in 2000. The newest member is Lynn Swain (from Asha) on flute and recorders. This CD A Cock & Bull Story Vol 2 could be considered a shameless bit of re-packaging past hits to coincide with their 40th anniversary…yes they have been around for that long. It certainly is a compilation, although not so much a greatest hits album, but more of a range of material where Jean-Pierre’s pipes are less of a feature. There are tunes from all of the last three albums, although disappointingly none from the now unavailable Concrete Routes CD. Some of us still have our vinyl copy of that masterpiece! The album kicks off with the bouncy “Stony Move” and features some unexpected choices as well as the dance tunes that are their trademark. “Penguin Brawl” whilst not a dance tune works well on its own, without its partnered French song. You have to get towards the end of the 20 tracks to spot the new items which a collector of Cock & Bull music might want to have. There is a sans bagpipes version of “Jaywalker” which really kicks and a live version of their signature “Buffalo Girls/Donkey Riding” set, complete with laughter and the voice of a caller (picked up by the stage microphones?) The CD finishes with the bizarrely titled “21st Century Schizoid Donkey” which turns out to be an up tempo wild rampage through “Donkey Riding” and nought to do with Robert Fripp’s King Crimson epic. This track appears to be from Pete Lockwood’s CD Cock & Bull Re-imagined also released for the band’s 40th. Quite why they haven’t recorded a band album for such an auspicious occasion as a 40 year career anniversary is a mystery, but in the meantime Story Vol 2 will have to suffice. If you’ve lost or worn out your CDs or are a fan who wants a full set then this might be for you. And if you are new to the band then this is at least an example of what English folk dance music can sound like if you break away from traditional ceilidh band instruments and arrangements and go your own way. Having seen them a couple of times in the last few years I can affirm that they still sound very good and can fill a dance floor.
Ray Cook. The Folkster.
Pete Lockwood's Re-imagining of classic Cock & Bull tunes along with tracks that were especially written for the band, to celebrate their 40th anniversary in 2019..Played & produced by Pete & his brother Dave and available on Bandcamp.
Listen to some of the music I’ve made using synths and featuring them in band arrangements, giving “traditional music” an unexpected twist.
In 2014 I began writing and preparing tunes for a celebration CD to mark The Cock & Bull Band’s 40th anniversary. As 2019 approached it seemed unlikely that a band album would materialise so I began recording these tunes and then picked some of my favourites from over the years and some of the tunes that never made it into the band’s repertoire. And with one final new tune prompted by the buzz of recording these tunes the music was sent to my brother who added guitar to many of the tracks along with his “production sparkle”. The title was inspired by hearing Trevor Horn talk about his new album The 80s reimagined where he has produced new arrangements of classic songs from that era. You can hear, download or buy this complete album on Bandcamp or msg me and I can post you a copy in exchange for some money.
Cock & Bull Re-imagined.
The arrival of this CD through the post was something of a surprise. The Cock & Bull Band, thought by many to have disappeared from the folk scene are indeed still a going concern and have been celebrating 40 years of entertaining dancers with their own unique brand of ceilidh tunes, as can be verified on their Facebook page. Pete Lockwood (with his brother Dave) has released the CD Cock & Bull Re-imagined, one assumes to tie in with this landmark event. With an exquisite cover design by Rose Lockwood and his brother Dave not only producing and mixing but playing guitar, this seems very much a family affair. There is plenty of information in the sleeve notes with the CD which comprises fifteen tracks.The notes tell us that “some of the tracks have been around in various guises, others are new and written with a band album in mind”. Quite why there hasn’t been a band album isn’t explained but this certainly is a first class celebration of all things Cock & Bull. Cross referencing with band albums it would seem five (if you count the “21st Century” version of “Donkey Riding”) of the tracks are from Cock & Bull repertoire, the remaining ten being new pieces written especially for the CD. All of the tunes have that surprise element to their arrangement and choice of instruments that was so typical of band albums and most but not all include solos from either keyboard (synth) sax or guitar. Dave Lockwood’s acoustic guitar work is sublime. His connection to the band goes beyond producing their last three CDs, to playing with former member Dave Whetstone. There are jigs, “Kus Mijn Kloten”, “Jumping For Jehovah”, and “Rond Du Quercyond” and plenty of polkas too. The track order jumps from the out and out “techno-folk” of “Folk Theory” to the ultra traditional “Changing The Lawndry” followed by the chilled beach DJ style opening of “Obonjan To Oxford”. My two favourites are “An-Dro Logique Dix” with sax solos that leap out of the speakers and the subtle and wistful “Miranda’s Waltz” which had me checking the sleeve notes to see whether bandmate Vanda Sainsbury had guested on clarinet. The CD opens with “Beau Nash”, and a synthesiser and rhythmic drum groove that would have many a folkie running for the door. It sounds like it would be more at home at a rave. But persevere if you can and you’ll find an album full of interesting tunes and many references to Cock & Bull trademark arrangements and their unusual and unique approach to making music. All in all this is quite a revelation. A Cock & Bull album that isn’t by Cock & Bull but has so many of their elements. Perhaps that is to be expected when one of the band is let loose and let’s his imagination run riot. It’s worth a listen. Like marmite, you’ll either love it or hate it. I’m veering towards the love it, but you’ll need to make your own mind up.
Togmor recorded the backing tracks at Area 88 before relocating to Grove Road Studio in Leighton Buzzard for vocals and a few overdubs...flute and percussion etc before Steve Askew worked his production magic and mastered the album.
It can be found on Bandcamp and the track listing is as follows:
25 of the 36 tracks written especially for a production of The Tempest by Performing Arts Students at Milton Keynes College. Originally recorded in 2009 using an Atari 1040 running C Labs Creator. This CD is available on Bandcamp.
Reviews awaiting inclusion
A Cock & Bull Story Vol 2 follows on from Vol 1 with a compilation of the band's more recent recordings to celebrate their 40th anniversary. Featuring bonus tracks and previously unreleased demo and live recordings. This CD is available on Bandcamp.
A Cock & Bull Story Vol2.
The Cock & Bull Band have been out of the limelight for quite some time. Ever since the departure of their piper Jean-Pierre Rasle, many have written them off. I’m pleased to say that they are still alive and well and if social media is to be believed, still gigging. Founder member Paul Martin is still there, as is keyboard and technology chap Pete Lockwood and it’s good to see the welcome return of Vanda Sainsbury who left the band in 2000. The newest member is Lynn Swain (from Asha) on flute and recorders. This CD A Cock & Bull Story Vol 2 could be considered a shameless bit of re-packaging past hits to coincide with their 40th anniversary…yes they have been around for that long. It certainly is a compilation, although not so much a greatest hits album, but more of a range of material where Jean-Pierre’s pipes are less of a feature. There are tunes from all of the last three albums, although disappointingly none from the now unavailable Concrete Routes CD. Some of us still have our vinyl copy of that masterpiece! The album kicks off with the bouncy “Stony Move” and features some unexpected choices as well as the dance tunes that are their trademark. “Penguin Brawl” whilst not a dance tune works well on its own, without its partnered French song. You have to get towards the end of the 20 tracks to spot the new items which a collector of Cock & Bull music might want to have. There is a “sans-bagpipes” version of “Jaywalker” which really kicks and a live version of their signature “Buffalo Girls/Donkey Riding” set, complete with laughter and the voice of a caller (picked up by the stage microphones?) The CD finishes with the bizarrely titled “21st Century Schizoid Donkey” which turns out to be an up tempo wild rampage through “Donkey Riding” and nought to do with Robert Fripp’s King Crimson epic. This track appears to be from Pete Lockwood’s CD Cock & Bull Re-imagined also released for the band’s 40th. Quite why they haven’t recorded a band album for such an auspicious occasion as a 40 year career anniversary is a mystery, but in the meantime Story Vol 2 will have to suffice. If you’ve lost or worn out your CDs or are a fan who wants a full set then this might be for you. And if you are new to the band then this is at least an example of what English folk dance music can sound like if you break away from traditional ceilidh band instruments and arrangements and go your own way. Having seen them a couple of times in the last few years I can affirm that they still sound very good and can fill a dance floor.
Ray Cook. The Folkster.
An "alto sax moment" from the Mid Wales Festival 1990.
Tenor sax at The Stables Theatre Wavendon Milton Keynes.
Soprano sax at Great Linford's sadly missed Waterside Festival
We use our lights at most gigs to add that bit of atmosphere.
A "posed" shot from the photo shoot with Josh Levy.
Some tunes need a quick change from one sax to another.
Scratch: was only ever going to be a short term project. A “covers band” playing Wishbone Ash and Steeley Dan songs whilst Peter “Spud” Lubbock took a year of from music college in Huddersfield. It quickly became much more and becoming one of the first Bletchley bands to play away from the local area and the first Bletchley band to use a light-show. The line up of Pete Lockwood on drums, Dave Lockwood on guitar and Spud Lubbock on guitar and keyboard, were joined by Mike Crofts on bass and Scottish vocalist Dave Woods. Local youth club gigs were augmented by trips to Northampton and beyond, before the band began to play the “Home Counties college circuit”. Scratch rehearsed at The Stables Theatre run by the Wavendon All-music Plan and played four sellout gigs during the life of the band. Terry Marshall (of amplification fame) became the manager loaning some of his Thor speaker cabinets. In 1977 Scratch became Aylesbury legend, John Otway’s backing band and also support band for his national tour to promote his “hit” “Cor Baby That’s Really Free”. There were three demo recording sessions during the life of the band and there is a link to the tracks from Luton’s 1977 Quest Studio session. Scratch played approx 50 gigs a year and can lay claim to have played the first ever gig at Milton Keynes College of Education, the first ever open air gig at Willen Lake Mini-Bowl (used as a prototype for The National Bowl MK) and several sellout gigs at Bletchley’s Wilton Hall. Mike Crofts left in 77 to be replaced by Paul Sanderman only to return in 78 when Otway lured Paul into a new Otway band with the return of his pal Wild Willy Barrett. In 78 we auditioned a number of local guitarists including future Killing Joke axeman, Geordie Walker and future Portishead guitarist Adrian Utley. Luckily for both neither, at the time, was considered good enough for the band and would go on to enjoy successful careers. It was Spud who decided to leave and the band folded at the end of 78. Dave Lockwood would one day become editorial director of music tech magazine Sound On Sound, Peter Lubbock would play in numerous bands before reuniting with Pete in 2000 as part of Asha, eventually retiring to the Isle of Wight after several decades as a guitar teacher. Mike Crofts went on to run a studio as well as conducting brass bands and local orchestras as well as running a PA company, whilst singer Dave Woods emigrated to Australia becoming part of the wine retail industry.
Martial Law was started by bass player Bill Gammond as a hard rock band when such bands were at their most unfashionable. Singer and frontman Eddie Macerlaine and guitarist vocalist Martin Hartup were on the look out for a new drummer and also another guitarist to replace Del Bromham who was just “helping out”. Enter Pete Lockwood on drums, Dave Lockwood on guitar an a bonus member of Dave Pusey (RIP) on keys. The new six piece band were out of step with current fashions and struggled to find gigs. After entering a battle of the bands, just to have somewhere to play they were astonished to win and recorded two songs in Pace Studio Milton Keynes by way of a prize. Gigs continued to be hard to come by and within a year the band called it a day. The two Daves got into recording, Eddie went home to wait a few years before forming The Soul Band, Pete joined pop band Unit 6, Bill formed his next of many “hard rock” bands and Martin would one day join Palmerston. Such a great shame that more people didn’t get to see and hear Martial Law. They did get to play Wolverton’s Agora, the outdoor rock extravaganza at Groveway Greyhound stadium, Woughton Campus (future home of the Pitz) and Newlands Park College…twice.
Spud & the Fabs: were formed in the autumn of 79 after an “informal jam”. The aim to be a “fun-band”, playing covers of classic Cream and John Mayall songs is a bit of a contradiction, but they pressed on regardless. Friends since schooldays, the trio of Pete, Spud and Steve Cobham were joined by Scratch bassist Mike Crofts and began rehearsing a set of blues covers and well known R’n’B Stones and Beatles tunes. They started 1980 by playing at Milton Keynes College of Education, and were immediately booked to play both the summer and Christmas Balls. Within a short time they were playing regularly at local pubs, youth clubs and various MK venues. By late spring they had recorded three songs at Bletchley Park in the room that Alan Turing used during WW2 to invent his “fab” device. Local Hi Fi buff Mike Skeet recorded the band live using his binaural recording technique. Vocals were then added and mixed live to create the “master” tape that would be used to create a three track 7” single. Natural reverb was achieved by recording in a corridor and placing a second microphone at the far end. The three songs were all written by Pete who ended up singing lead vocal on two out of the three compositions. With its lack of compression and EQ the resulting vinyl release wasn’t representative of the band and they didn’t want their share of the vinyl. A small number were sold and the record is now a “collectors item” and extremely rare. Spud and The Fabs (Mk 1) played their final gig at the end on 1980 The band would be revamped in 1985 with Spud replacing Mike Crofts on bass and Brad Bradstock joining on vocals to play a handful of pub gigs. Further outings took place in 2003 and 2007 when a live CD was recorded. Since 2010 when Steve Cobham relocated to France, there have thankfully been no further outings of Spud and the Fabs.
Unit Six have been a Milton Keynes’ institution going right back to the early sixties. Sammy Jones’ book “Wired For Sound” includes a chapter on the early days of the band and by the late seventies the core line up of Tony Bryant (RIP) and brothers Gordon (RIP) and Doug Hart had been joined by Phil Burrell (from Merlin’s Isle) and vocalist Laurie Mills. They were in need of yet another drummer and after one brief rehearsal Pete plays his first two gigs, both with different depping bass guitarists! The band’s penchant for mid sixties vocal harmony songs sung by the likes of The Four Seasons was offset by their including such dire shite from Boney M. Most gigs were firms’ social clubs or farm barbecues and the equipment frequently needed encouragement to work or a hairdryer to kick start the keyboard. Pete stuck it for a year, only to return at short notice at xmas when his replacement left them in the lurch. During that first year the band recorded an album “Give It A Whirl” at Fairfield Studio (where Bebop Deluxe recorded). Joining again, at short notice in 1984 the line up now included Ant King on bass and Joanna Lee on vocals. The equipment was a little better, as was the music with songs by Nik Kershaw, Police and Dexy’s all in the repertoire. Pete stayed until 1986. His final time in Unit Six was a call, literally the day before the gig and it was a totally different band! A proper PA and lights and Doug with not one but two working keyboards plus two female singers, Kerri-Anne Gillow & Danni Henry and a repertoire that was uptempo and modern. Unit 6 was now great fun to play in, but Pete’s spell from November 2002 only lasted until May 2003 when he was surreptitiously sacked for “lacking in commitment. And to add to his disappointment, he was the only former member not to be invited to the band’s 40th anniversary celebration gig at The Sanctuary, Bletchley later in 2003. Unit 6 continues as a “soul band” with Doug Hart now out front as vocalist and leader.
Eddie & Badger’s Soul Band: What a band! Maybe it was Badger’s idea? We’d all loved soul music back in the day and The Commitments film was very popular. The original incarnation of E&BSB fell apart very quickly and nearly a year of trying out just about every MK musician didn’t work before the original line-up reconvened, put their gripes aside and decided to give it a go. The powerhouse rhythm section of Jeff Willett, drums and Dave Pusey (RIP) on bass, were joined by Dave Lockwood on guitar and a horn section comprising “Big” Tenor Joe O Halleran and Pete Lockwood, alto sax, later joined by Dave Johnston on trumpet. The vocals were handled by Bletchley’s very own Sam & Dave, namely Brian “Badger” Claridge and Eddie Macerlaine. The band were tight and played all that wonderful Stax-Volt and Tamla material with an authenticity. They quickly became the hottest ticket in town filling pubs to beyond the fire limit, before moving to bigger gigs, selling out The Open University, Woughton Campus’s Pitz Club and Bletchley’s Wilton Hall as well as a massive outdoor Peace Campagn gig at the Willen Mini Bowl.. A trip to a US airbase didn’t quite end up like the film as most, if not all the airmen hadn’t been born back in the days of James Brown, Eddie Floyd and Wilson Pickett. It was fun whilst it lasted. It imploded just before xmas and thankfully we’ve never tried to recreate the hectic days of 86/87 when we once played both Cranfield University AND Bedford College Summer Balls on the same night! Whilst no studio recordings were ever made, some gigs were recorded with a cassette recorder stuck right in the middle of the band so listen to the track and taste the excitement. Badger pressed on with a new version of the band called “The Business” and Eddie now sings blues with “The Scoundrels”.
.Avalon: With the demise of Kloten, Pete Lockwood teamed up with yet another school colleague, guitarist Steve Hale. Our girlfriends had been friends since primary school and on the look out for a new musical collaborator with a love of Stackridge, Gnidrolog and Caravan, we hit it off immediately and began writing together. Pete’s younger brother Dave Lockwood at just 15 was coerced into joining as a second guitarist and Dave Pusey (who had been a keyboard player in several successful Bletchley bands) completed the line-up, but on bass. After several months of song writing and rehearsing two further members were found, Sean McBride on alto sax & flute and Nick Leng on tenor sax & clarinet. From then on the Avalon sound began to take shape. The songs were “quirky” with complicated instrumental passages and long solos. There were plenty of sections for Pete to play flute or clarinet and nowhere near enough vocals. The band didn’t really have a “proper” singer. And with very little by way of a monitor mix, the tricky “clever bits” could easily go wrong. Guitarist Steve built a mixing desk and power amp for the band and PA speakers were acquired when Marshall Amplification gave us two huge empty bass bins that had once belonged to Deep Purple and had been damaged in a riot. We had to buy new speakers for them and at 4’ x 3’ x 1.5’ they were so large that all gigs needed Steve’s brother in law’s large van, normally used for carrying vegetables, to get us to gigs. During its fairly brief life Avalon played gigs at Liverpool University, Essex University, Stratford Upon Avon College, Culham College, Esmeraldas (BYC) supporting Back Door and as their only real claim to fame, two gigs for Friars Rock Club Aylesbury, Raban’s Rock and in the Borough Assembly Hall as support to Greenslade. Avalon made several demo recordings with limited success as they were basically live recordings with no opportunity for overdubs. During the last few months of the band sax player Nick was replaced by Aylesbury’s Tony Angelo and were joined by Brian Johnston on keyboards & tuba. The band folded after an unsuccessful gig at The Greyhound in London on 3rd January 1975, where no A&R persons turned up to witness their dynamic sound. Pete would team up with his brother Dave in Scratch, whilst Dave Pusey would be involved in all of the versions of Clumsy. Sean McBride remains a stalwart of the Bristol music scene having become a “pro” musician. Steve Hale works for Neve designing their mixing desks and Brian Johnston ended up playing on cruise ships. Avalon, Milton Keynes’ first prog band.
The Blues Collective: Most people from the MK music scene know Lee Scriven. I’d seen him with his permanent scowl in Chappel’s Music Store and had seen both his bands, Ficticious and Ha! and he used to wander along to Scratch gigs and rehearsals with his mate Geordie but didn’t Really know him well. So one morning in the summer of 1986 he comes stomping down to the bottom of the garden with a cassette….”I’m putting a Blues Brother’s Tribute Band together and I need a horn section, you play sax don’t you?” “We’re rehearsing next Sunday at the OU, alright”. Lee is someone that somehow always gets people to say yes, so the following Sunday having got a vague idea of what was needed from the cassette, I show up at the OU for an evening of “rehearsal”. I say rehearsal, but neither Joe O Halleran on tenor and me on alto sax could hear a note we were playing as we were sharing a microphone and the bass, drums and guitar players in the band were unbelievably LOUD !!! And so followed a pattern for the rest of my years in what became The Blues Collective. Sharing a microphone because there were never enough channels on the desk and of course the kick drum and snare drum ALWAYS needed TWO microphones. And never able to hear yourself. Despite all this, somehow we managed to become a brass section with Diarmed Scrimshaw on trombone & Tracy (still don’t know her surname) on trumpet and joined sometimes on gigs by Tim Searle (of Triffic Films fame) on tenor sax. How the band got away with it in the early days was down to hype from the local music press, word of mouth that lots of people on stage just had to be good and a hell of a lot of “front”. The original band was held together by Dylan Jeavons on bass, who kept Lee’s brother Blair on drums under some kind of vague control. Pat Milne from Ha! Was on guitar and Lee shared vocals with Graham D who like Dylan, was what helped the band get away with it. The icing on the cake was Lee’s wife Lorna & her mate Caz Tricks on girly backing vocals and glamour. With so many people on stage…(there were a few others whose names I never got to know) it was always going to be very visual and it took off like a rocket. Later in the band’s long career it became much more professional and better players joined the brass section and the band got bigger. Having conquered Milton Keynes and half the universities in the land, the band moved on to visits to Paris and The Edinburgh Fringe. From such unlikely beginnings it became one of Milton Keynes’ biggest success stories. I was there right at the beginning and take the credit for moulding and organising the “original” brass section.
Asha: It was, once again, a Bob Adams suggestion that led to Asha. Violinist Jackie Allen had moved to Milton Keynes and was looking for a musician to collaborate with for a new musical project. Pete & Jackie’s contrasting backgrounds in the folk world made this an interesting and exciting project. Jackie had a number of violin tunes with a Celtic feel, many from Canada. They worked on them together with Pete adding a synth based arrangement to give the tunes a new and original flavour. After discussions on a third musician…Jackie suggested a flute player she knew, but it was Pete’s choice of guitarist & keyboard player Peter Lubbock who completed the line-up. The name Asha came from the title of one of the early tunes being rehearsed but didn’t end up in the repertoire. Asha was an immediate “hit” on the ceilidh & festival circuit and within a year, began recording their debut CD “Close Enough” at Mike Crofts’ Main Street Studio. They were then joined by Jackie’s flute playing friend Lynn Swain to become a quartet. Lynn’s folk background along with original compositions by Pete and Peter Lubbock gave the next CD “Into The Light” a definite “concert flavour”, with it again receiving great reviews. With everybody in the band playing several instruments, the various permutations and combinations encouraged even greater creativity.
The next chapter of Asha saw the band adding melodeon player Dave Jolly and original guitarist Peter Lubbock moving to the Isle of Wight and his place filled by Northampton’s Gerald Claridge. The Asha quintet recorded their third CD “Nifty Thrifty” and continued to play festivals and ceilidhs until Dave Jolly moved to live in France. Since then the band have only had rare outings as a four piece line-up but were due to celebrate their 20th anniversary in 2020 until Covid intervened. As gigs at The White Horse Festival and at “pint-sized” Towersey Festival on the August Bank Holiday were both postponed due to covid and the ceilidh scene looks unlikely to ever again become the vibrant scene it was before the pandemic, Asha have decided to call it a day. You can still listen to or download all three albums from the Bandcamp site petelockwoodmk.bandcamp.com
Whilst at Bletchley Grammar School Pete played a number of gigs with guitarist Steve Cobham before joining forces with school friend and guitarist Peter Lubbock to form “Kus Mijn Kloten” with Bob Eyres on vocals and Chris Mosely on bass. Pete had a brief series of clarinet lessons in “sixth form” after discovering that he could get a tune out of his dad’s old metal clarinet, which he began using as a “substitute-soprano-sax”. Inspired by Nigel Pegrum of Gnidrolog (and later Pace Studios MK fame), flute or clarinet solos were a feature of quite a few tunes. Shortening their name to just Kloten, the band greatest claim to fame was when they played support to Black Sabbath at Esmeraldas rock club at Bletchley Youth Centre. Their other claim to fame was recording five tracks using the audio recording set up in a Soho “porn film studio”. Before the band disintegrated they were joined for their last few months by Brian Johnston on keys. Pete would eventually play with both Peter Lubbock in Asha and Steve Cobham in The Cock & Bull Band and both of them in Spud & The Fabs.
I will be tutoring & leading rehearsal sessions with a community sambaband to perform for the Stony Stratford Winter Lantern Parade on 26th November & as well as.the Wolverton Lantern Parade on December 3rd. Rehearsals start on 4th October at Christian Foundation The Square Wolverton. For further info email hannahkitchen@homecall..co.uk
Great pic from the lense of Liam Cunningham..
The Cock & Bull Band return to The Sky Room at Milton Keynes Gallery.