PIPELINE ANNUAL INSTRUMENTAL CONVENTIONS

POSTER FOR 2009

Here are reviews of some earlier Conventions:

12^th  PIPELINE  CONVENTION

Twangtastic Day 2

by Rob Bradford

          Within ten minutes of arriving at the International Students House  it was obvious that it was going to be another "Twangtastic Day"…  

Within a very short space of time I'd already spoken to Bill Bryan, Steve & Helen Terrell, Uncle Alan & Uncle Dave, Clive Poole, Jim Nugent, George Geddes, Paul Keyes, Trev Faull, Tony Hoffman, Maurice Preece, Kevin Wootten and many other fans/collectors from our beloved instro world. Phew!! It was already like an instrumental Who's Who and that was all before the enticing CD/record stalls which included some of those already mentioned plus MoviMusic with the delightful Jolanda, Gerry Woodage's Ventures pitch, Shadsfax, Leo's Den and Bob "Bim-Bam" Thomas. OK I admit it, I am an instrumental CD-aholic. Before the first group was onstage I'd already spent £100! The hall was heaving with numerous other poor souls who were similarly afflicted. Time to form a mutual support group, eh? Almost identical to my opening remarks from 2002 I hear you say. Ah well, it's that sensation of déjà vu you see. As ever there was a wonderfully relaxed and friendly atmosphere. To me all of these guitarists, writers, fans, dealers, collectors and aficionados are like part of a huge extended family where everyone shares a mutual interest - a love / passion / obsession with regard to instrumentals.

	The Theatre (photo Steve Terrell 2004)
	The Guitar Room (photo Steve Terrell 2004)

It's also great to mingle with instrumental stars past and present - all of whom were willing to stop and chat. Amongst the celebrities were John Barber (Scorpions), Warren Bennett (Vibratos), Mo Foster (session bassist to the stars), Alan Jackson (Vintage), Ivor Knight (Scorpions), Mike O'Neill (Nero!!) and Dick Plant (Vibratos). In addition, of course, the group members who were performing that day were also wandering around the venue.

 

Mike O'Neill 
(Nero & The Gladiators), 
Peter Knight 
(The Moontrekkers) 
& 
Ivor Knight 
(The Scorpions) 





(photo Steve Terrell 2004)

LOST 4 WORDS

As a new venture for 2004, Lost 4 Words took over the guitar room for the afternoon. Incredibly, they had agreed to play for virtually two hours with only a very short break. They had prepared a set list of no fewer than 52 instrumentals and had sheaves of forms at the back of the room for fans to submit requests. They needn't have worried. In the event Lost 4 Words played an incredible 49 different instrumentals, which is a staggering achievement. They decided to omit their three Duane Eddy numbers on the basis that there was plenty of that being provided by the Duane Eddy Convention in general and the Twang Gang specifically. They still played 52 numbers as they repeated a few items for fans who arrived for their second set.

 
   Lost 4 Words in the Guitar Room   (photo Steve Terrell 2004)

These guys certainly looked the part with their snazzy matching Hawaiian shirts and with two guitarists sporting red Fenders. Full marks to them for an incredibly varied set list including seldom played covers from such diverse artists as the John Barry Seven, The Dakotas, Joe Brown, The Rocking Rebels, Dick Dale, The Krew Kats, The Outlaws and many more. Matt Saunders (drums) and Tim Izzard (bass) always provided a rock solid foundation upon which guitarists Paul Morris (rhythm) and Jim Wootten (lead) built admirably.

Tim and Paul made all of the announcements and the group banter, badinage, asides and wisecracks were often hilarious. They certainly seemed to be enjoying themselves and made sure that the audience did too. All of their surf numbers were uniformly excellent with the group donning cool Raybans for exhilarating romps through The Tornadoes' Bustin' Surfboards, The Pyramids' Penetration and other classics. During these numbers Paul was "surfing" on a suitably psychedelic wedge!!

Other highlights from their eclectic set included Hit And Miss, with Paul cleverly replicating the pizzicato strings of the JB7 original by playing his guitar through a synth simulator device, a truly rousing Ghost Riders In The Sky (which received a tremendous ovation) and a superb Hava Nagila (even more resounding response). You want more? How about a very ambitious arrangement of The Good, The Bad And The Ugly which Jim turned into a guitar workout tour de force. A fiery Wild Weekend was excellent and their original Lost 4 Words Theme is a tasty dual guitar item. Misirlou was a joyous out and out blasting thrash. Also full marks to Paul for an outstanding version of Albatross when he took a rare turn on lead guitar.

The audience fluctuated between 30 and 100+ during the afternoon and really I can't praise the group too highly for their stamina, skill and great sense of fun. Thanks guys, you did a fantastic job. One final point, when will there be a Lost 4 Words CD?

ALAN JONES & FRIENDS

Great idea - take a former Shadows bassist and form a group around him with some really talented musicians. Yup - great idea and it worked a treat!

Alan Jones is undoubtedly one of the UK's all time great bassists. He started out playing lead guitar (very good he is too!) until falling under the spell of a certain Mr J Harris whereupon he switched to bass. Alan became part of the Johnny Howard Group which led to numerous radio (& TV?) appearances and then on to sessions. In the 1970s/80s Alan Jones was one of the UK's leading session men, playing on literally thousands of session tracks including (apparently) no fewer than 33 No.1 hits. Between 1978 and 1989 Alan toured and recorded with The Shadows until a serious car accident curtailed his career and almost ended his life. By the time that Alan was fully recovered, the session scene was all but over and the Shadows had broken up. However, the genial Mr Jones was part of Barry Gibson's Local Heroes and is part of Bruce's Moonlight Shadows. He is now a regular at Pipeline and many other conventions.

 
   Alan Jones & Friends - backstage  - (photo Steve Terrell 2004)

What of Alan's Friends? Ian McCutcheon has been playing guitar for well over 40 years and he is a very accomplished player. Ian's outstanding series of Shadows Workout CDs provide superb backing tracks for those who wish to emulate Hank B Marvin. I always marvel at Ian's skill as he quite often (courtesy of overdubbing) plays lead, rhythm, bass, second guitar etc. Drummer Martin Verrill is a lifelong Shadows fan and he is well known to us as Legend's drummer. Rhythm guitarist John Woodward is a lifelong fan of Bruce Welch and Amy Harper (keyboards) has backed various ex-Shads as well as providing keyboards for numerous instrumental combos.

For the purposes of the usual Pipeline balance, Alan Jones & Friends were there to provide fans with a healthy dose of Shadows instrumentals. This they proceeded to do with considerable aplomb. A feisty Flingle Bunt set the tone straight away with the whole band really fired up and immediately afterwards they tore into Man Of Mystery complete with screaming guitar solos. David Martin maintains that the rhythm part for Temptation is even more murderous than The Savage. Well, John Woodward was more than equal to the task as the group delivered another top class performance.

The affable Alan Jones made the introductions in his genuinely modest and laid back fashion. Wonderful Land offered the chance to slow the tempo down a little and also to introduce Amy Harper on keyboards. Dressed in the obligatory black top and black jeans, Amy sat quietly in the background - but she is an excellent keyboard player who fulfils her role admirably.

Ian McCutcheon demonstrated that he has excellent ballad technique in stark contrast to his fiery playing during Man Of Mystery and Temptation. A superb Gonzalez saw the group rocking out yet again whilst the tricky Thing-Me-Jig enabled both Ian and Alan to show off their respective chops. Somewhere was simply beautiful with John Woodward's tastefully crafted arpeggios underscoring Ian's super lead guitar work. John's rhythm wrist was tested again on The Savage as the group blazed away in fine style. Well done Martin Verrill for replicating Tony's drum figures on this one. Amy returned to recreate the Norrie Paramor strings on Atlantis to good effect.

Then we were treated to I Wish I Could Shimmy… before Alan excelled himself with a magnificent version of Nivram. Cricket Bat Boogie isn't a simple number to play, but the band made it sound easy. Argentina was a tour de force by all concerned - a fine group performance and very moving indeed. A bouncy Foot Tapper was followed by a wild Riders In The Sky and that was topped by an even wilder FBI. Alan Jones & Friends finished with - what else? - Apache. The rapturous applause was testament both to the enduring popularity of Alan Jones and the skill, enthusiasm and commitment of his Friends. Thanks Alan, Ian, Martin, John and Amy - you made a lot more friends (& fans) courtesy of your excellent performances.

THE PACKABEATS

Every year there seems to be a Pipeline exclusive. This year was no exception with an appearance by the complete original line-up of The Packabeats who had last appeared onstage together in 1964! Actually lead guitarist Malcolm Lenny was at pains to point out that drummer Ian "Stoo" Stewart had founded the original group and that most of the onstage line-up didn't actually join The Packabeats until mid-1961 after the release of Gypsy Beat. Well, the line-up that played between 1961 and 1964 is original enough for me!  


The Packabeats - (photo Steve Terrell 2004)

Malcolm Lenny turned out to be a brilliant front man as he introduced the various instrumentals. He mixed humorous anecdotes with laconic witticisms and self- deprecating personal put-downs. Not only that, he revealed himself to be a lead/rhythm guitarist of considerable talent. It's a mark of confidence for any act to start their set with their biggest hit. The Packabeats did just that as they faithfully re-created the chunky sound of their minor classic Gypsy Beat. The group obviously had high hopes of further chart success when they signed up with Joe Meek's RGM Sound outfit. Indeed, their single Evening In Paris / The Traitors fully deserved to be a big hit. To long-standing instro fans it remains as one of the finest double-sided releases never to chart. This was an excellent live performance with the entire group on top form.

Chattanooga Choo Choo was also splendid, being nothing like The Shadows' familiar arrangement. No, this was highly spirited with jazzy tinges and inflections. Malcolm switched to a simpler, heavier style of playing to faithfully capture the mood of Duane Eddy's The Lonely One. In similar vein was 40 Miles Of Bad Road - Ian Stewart thought that the title could be updated to M40 Miles Of Bad Road!

Versatility was perhaps The Packabeats' trademark as they now delivered a spirited Walk Don't Run which mixed elements of Chet Atkins, Johnny Smith, John Barry and The Ventures and yet still sounded fresh and original. With the group lending excellent support, Malcolm switched to a kind of simple wah-wah / chorus effect to come up with a lively romp through Teensville. Referring to Santo & Johnny's Sleepwalk, Malcolm revealed that The Packabeats always preferred the follow up release Teardrop. This was a beautifully crafted and sensitive performance of great style and charm.

By way of contrast again, the guys delivered a truly rockin' Tennessee Waltz which was loosely constructed, according to Malcolm, in the style of Bill Black's Combo. Next up was a version of Dream Lover which was combination of the actual release and how the group originally envisaged it. Definitely all the better for that! They may have preferred Teardrop to Sleepwalk, but The Packabeats were obviously very fond of the latter too as they presented their smooth and silky version to the Pipeline audience. Ringing the changes again, the group powered their way through a punchy version of Diamonds, offering Ian Stewart the chance to showcase his impressive Tony Meehan chops.

Equally impressive was bassist Ted Harvey's performance as he played the lead throughout on the bass guitar. Excellent! It seems that almost everyone who played guitar in the early 1960s was a fan of Buddy Holly. The Packabeats were no exception and they duly paid homage with a rocking instrumental version of Buddy's Rave On.

Equally fine and just as rockin' was Packabeat. This was the B-side of Dream Lover and many people, including the Packabeats themselves, felt that "Packabeat" should have been the A-side. Again, most fans regard the fabulous The Traitors as The Packabeats' finest recording as well as being amongst the upper echelon of Joe Meek's instrumental productions. Well… Ian, Malcolm, Ted and Derrick were really on fire as they blasted their way through an absolutely fantastic live version which received a huge ovation from the audience. The Packabeats ended as they had begun by revisiting Gypsy Beat.

The group also mentioned their vocalist Tony Holland (who could not feature at an instrumental convention). They stressed that they were never purely an instrumental group and always appeared as Tony Holland &The Packabeats. Tony has serious health problems at the moment and I'm sure that all Pipeliners would like their best wishes & hopes for a recovery to be passed on to him.

The group appeared to be visibly touched by the genuinely warm response to their appearance. To be honest, I don't really know what my own expectations were before The Packabeats took to the stage. Whatever they were - they were certainly exceeded! They had a totally unique sound and style all of their own, which is quite an achievement in itself. Judging by this performance, I hope that the group don't hang up their instruments for good just yet.  

"1961"

Wow, what a musical pedigree these guys have! Ronnie Gustafsson is well known to all instrumental fans as a lead guitarist par excellence specialising in that early '60s Shadows sound. The original "1961" group was rightly hailed as a classic instrumental incarnation. However, the group disbanded not long after the 1995 Pipeline Convention. Ronnie recently revived "1961" and he has assembled a top class set of players. For starters rhythm guitarist Stefan Linder (a staunch Shadows fan) is a graduate of both Stockholm's Royal Academy Of Music and the M.I. of Los Angeles. He is a professional session player and guitar teacher. Drummer Roger Palm is also a top session player and drum/percussion teacher. He has played on over 4,000 recordings including many of Abba's greatest hits! Bassist Jan Bergman took up the instrument in 1963, being inspired by Jet Harris. He too is a graduate of Stockholm's Royal Academy Of Music and he is one of Sweden's top session players. As I said, quite a musical pedigree.  


1961 - (photo Steve Terrell 2004)

Let me say at the outset that these guys were absolutely superb - sheer class! Naturally they all have years of training and vast experience at the very highest musical levels. Because of this their performances were ultra-tight, spot on and (apparently) effortless! As Ronnie said to me: "These guys read music as easily as you or I would read a newspaper." 

"1961" opened up with the first of many, many originals from the prolific and awesomely talented Lennart Clerwall. He really does have the knack of writing material which sounds as though it dates from those halcyon days of the early '60s. Second Street is a close relative of The Boys and the superb rhythm section urged Ronnie's classic twanging lead along in fine style. Fairytale is a brand new Clerwall number - a lovely guitar ballad in the grand manner of the instrumental tradition.

Sticking to the early Shadows era, Ronnie and "1961" opted next for a fine reading of The Stranger. Spanish Tango (another masterful composition from Lennart Clerwall) is one of my favourite "1961" tracks. The fantastically tight, taut and percussive playing from bass, drums and rhythm allowed Ronnie to develop his flowing, romantic lead (contrasting with stately clipped passages) to wonderful effect in a performance of great eloquence. Shazam, of course, gave all of the group members the opportunity to show off their mini solos very slickly indeed. These guys have all taken part in literally thousands of sessions, recordings and performances - yet there was a great sense of fun and stylish energy in their playing.  

The Flight To Paradise has a beginning and ending in the style of My Resistance Is Low whilst the middle eight is loosely based around one of those maddening polkas - the original title of which escapes me. (As 1950s children in the Midlands we used to sing it to the repetitive lyric of "You can't put your muck in our dustbin, because our dustbin's full!" Maybe one of our knowledgeable readers will be able to put me out of my Oompah misery!)

Flowers, Raki-Taki, Scary Town, My Lonely Heart and Sea Shell were all brand new numbers from the Clerwall brothers, Lennart and Hans. They were all quality items and I believe that "1961" have plans to record a new CD so hopefully all of these tracks will be on there. By turns they were dramatic, powerful, gently wistful, yearning and nostalgic - and all points in between.

Perfidia and The Frightened City were mighty fine too with the former illustrating the skilful use of dynamics and phrasing to masterly effect whilst the latter was both frenzied and technically brilliant. 


Ronnie Gustafsson -  (photo Steve Terrell 2004)

Hooray For The Brave Soldiers was splendidly played but, for me at least, it's one of Lenny Clerwall's very few nondescript compositions. Riding Cossack has many other titles in the UK: Song Of The Plains, Cavalry Of The Steppes, Samovar etc, etc. Very atmospheric and tasteful playing from "1961", and they rounded off their set with a rousing FBI.

Last year there was a poll to judge who came closest to achieving "That Sound" of Hank and The Shadows ca.1960-1962. The main contenders were judged to be Roy from FBI, Colin Pryce-Jones, Phil Kelly and Ronnie Gustafsson. Listening to Ronnie at Pipeline (and listening to my "1961" CDs again) there are definitely times when you could swear that it was indeed Hank playing. Sure it helps to have the correct guitar, amplifier, echo box etc, etc. But what Ronnie also has is immense talent and a genuine commitment to the music.

I spent quite a lot of time talking the members of "1961" on the social gathering the night before Pipeline. What struck me most was simply how avuncular and modest they were. Great musicians and really pleasant people to be with. Come to think of it - what we had from every member of "1961" was virtually an instrumental master class. Thanks guys. Oh, by the way, Ronnie Gustaffson is a great fan of Tommy Cooper - I just thought you'd all like to know that.

THE CHARADES

Two years ago The Charades were virtually unknown in the UK, but boy they completely blew us away at Pipeline 2002 with devastating effect. I was an immediate convert and quickly wanted to obtain all of the group's recordings. Good as they (the CDs) are, it's surely the group's live performances that are simply awesome. I would agree with what many long-time fans and aficionados said in the blurb of their Action CD: that The Charades were simply sensational.

I was able to spend some time chatting to the band and their delightful entourage (managers, wives, partners, relatives, friends etc.) at The Bonnington Hotel the night before Pipeline. Like so many of the bands I have met they were all charming, friendly, funny, modest and enthusiastic.

Surprisingly they were also a little worried. Worried? The source of their concern was that two years previously they were not headliners and there was little or no audience expectation, hence, to some extent, no pressure. They then delivered one of the greatest performances ever witnessed in 10 years of Pipeline Conventions. Now it was 2004 and The Charades were top of the bill, this time around would they still be able to live up to everyone's high expectations? I think it's fair to say that the answer was a resounding "Yes!!"  


  The Charades - Hannu & Jari - (photo Steve Terrell 2004)

In 2002 they pinned everyone to their seats in seconds with the opening blast of Hawaii Five-0. 2004 was no different as Jari Moberg again thrashed out that ultra fast frenzied opening drum roll (as very few players can) and the group tore into More in impressive style. Now, the original is a beautiful fairly slow tender ballad but, as ever, The Charades have turned it into a rip-roaring powerhouse instrumental. The Ventures recorded a fine version of Slaughter On 10^th. Avenue, but what a fantastic version this was. As Dave Burke attests "They match, and sometimes even eclipse, their own heroes." They certainly did with a vicious, thrilling interpretation. It was their winning formula: basically the Ventures arrangement but simply (!!??) played louder and faster.

The great skill of this entire band is their amazingly tight ensemble playing. Bass, drums, lead and rhythm are always exactly spot on, even when the guys are playing at breakneck speed. Hannu is an outstanding player, but he is made to sound even better because of the fantastic musicians providing the backing. Leo's rock-solid pulsating bass lays a great foundation but he's also talented enough to add little runs, fills and variations and he really throws himself into his bass playing. Drummer Jari Moberg is a powerfully built guy. He uses his strength allied to great technique to thrash out his percussive barrage of sound. It may be the wrong genre, but he's a kind of John Bonham of the instro world. I'm sure that his heroes are Mel Taylor, Brian Bennett, Tony Meehan (& probably many others). The fact is that he's fast and he's very strong. His playing is enormously energetic. Finally, the rhythm playing. Incredibly fast, tight, crisp and propulsive. Where do these guys come from? In 2002 it was the fantastic Marko Rahikainen. Unfortunately he couldn't make Pipeline 2004 and was replaced by Samu Wuori - who was equally impressive. Again, to quote Dave Burke "Together they are magnificent." Amen to that. But, back to the music.

 
 The Charades - (photo Steve Terrell 2004)

Who would dare to turn Shirley Bassey's gloriously kitsch, smouldering torch song Hey Big Spender into an instrumental? The very thought of it is simply outrageous but, guess what? The Charades pull off the impossible. It really did work! The Shadows' Geronimo is seldom covered and The Charades give it a decent makeover in their own inimitable fashion. Changing Dimensions is a great original simply drenched in monstrous echo and dripping with cavernous reverb sounds as the group pound along in aggressive and menacing fashion.

The Charades take many well-known vocal tracks and arrange them as superb instrumentals with great skill and flair. In this respect California Dreaming, Keep On Running (great fuzz sounds), Dancing In The Street and even Summer In The City all turned out supremely well as exciting and exhilirating instrumentals. Ame No Midosuji (a lovely Ventures original) gave The Charades a rare opportunity to slow things down and chill out. A Little Bit Beat! A Little Bit Go! is an original composition by Hannu in similar vein. Occasionally The Charades do play quietly and slowly. Yeah they can do beautiful sometimes, very effectively too.

Wow! Jari's opening drum roll was probably his most fearsome yet as Hannu, Samu and Leo ripped through a glorious No Trespassing with a vengeance. Just how does Hannu achieve that high "springy" twanging effect? Action In Space and In Motion are on the way to becoming Charades classics but, for me, Secret Agent Man was just out of this world. The kitsch 60s spy classic was always a brilliant Ventures track. The Charades did it again, took an outstanding track and moulded it into an even more incandescent supernova of an instro. Magnificent stuff. The Charades were back, and they didn't disappoint.

Pipeline 2004… another Instro-Fest, another triumph. The great Alan Jones and his talented friends gave us fabulous Shadows instrumentals. The Packabeats were truly unique – and what a wonderful "hidden" talent Malcolm Lenny was. "1961" gave us superb musicianship, many original melodies and the majestic guitar of Ronnie Gustafsson. The Charades gave us power, skill and exuberant vitality allied to the stunning guitar skills of Hannu Kononen. Truly another Twangtastic Day. Thanks to all of the artistes and a special big thanks to Alan and Dave, long may they flourish!

Read our reviews of the last 5 years by scrolling down below:

PIPELINE 2003
The 11th Pipeline Convention ~ London, April 20th 2003
by George Geddes

On Sunday 11th April, 1993 Alan Taylor stepped up to a microphone in the theatre of the International Students House, close to London's Regents Park, and welcomed the audience to the first Pipeline Instrumental Convention. Almost exactly ten years later Alan was on that same stage, albeit refurbished (the stage, that is, not Alan) to open the 11th such gathering. The 1993 event was a big gamble, but Alan and Dave's faith proved justified, and the Convention has seen a succession of instrumental acts grace its stage. Not only contemporary bands keeping instros alive, but some of the legendary names from the '60s have taken part, not for the money but simply to share the music we all love. From that first Sunday with The Runaways, The Scorpions and Nero & The Gladiators, Pipeliners have enjoyed live sets from Highway Patrol, The Surf Rats, The Hunters (twice), The Rapiers (twice), The Falcons (twice), The Fentones, The Moontrekkers (twice), Nero & The Gladiators (twice again), "1961", Sir Bald Diddley, The Cougars, Local Heroes (twice), The Scorpions (again), The Temebeats, The Silhouets, The Spacemen, The Boys, The Vickings, Brian "Licorice" Locking, Husky & The Sandmen, Pipeline '61, The Jaguars, Bert Weedon, The Centurions, The Secrets, The Reflections, The UB Hank Guitar Club Band, The Invaders, Los Jets, Lost 4 Words, Legend, The Charades and The Tornados. A truly cosmopolitan list. Family commitments kept me away from the first two events, but I have willingly endured family gripes, travel problems and penury to be at every one since 1995. Ray Liffen's excellent videos capture much of the unique atmosphere of Conventions, but in truth, you have to be there...
Following two years at the Conway Hall in Bloomsbury, the Pipeline Convention returned to its original home at the ISH and again shared the day and the facilities with the Duane Eddy Circle who were holding their 25th gathering. Circumstances prevented the customary Saturday night gathering of Pipeliners, so I put the time to good use by visiting the Prince of Wales Theatre for Cliff The Musical which featured a good contribution from the afore-mentioned Rapiers.

The Duane Eddy Convention was the usual mix of audio and video clips plus live music from the excellent Twang Gang, who this year played a short acoustic set earlier in the programme before closing the proceedings with their customary polished selection from Duane's repertoire. As usual, three sides of the hall had a good range of stalls with CDs and other merchandise. An instrumental fan and his money are soon parted! With the return to the ISH, the Pipeline Guitar Room was back in its own accommodation under the genial supervision of Tony Hoffman and Eric Kingdon, and a succession of players kept things going throughout the afternoon.

On to the live music. Only three bands this year, but a varied selection of instrumental sounds of the highest quality.

From Sweden, The Goldfingers were known primarily through their excellent debut CD Destination Moon which offered a selection of Spotnicks favourites plus other numbers played in Spotnicks sound. That the band were asked to play at a Spotnicks festival organised by former Spots drummer Ove Johansson speaks for itself. Alan Taylor pointed out in Pipeline 58 that a Spotnicks set always includes vocal numbers, as their short set at the London Palladium in March showed. The Goldfingers, however, offered a completely instrumental collection of numbers which included virtually every major Spotnicks favourite. It could be argued that The Spotnicks only have one sound, but when it is as great as the "spacial" sound created by Bo Winberg and Co., what does it matter! Classic after classic came from the guitar of Lennart Sundberg. Special mention, too, of Tomas Persson who replaced Hasse Strandberg at short notice, having only two weeks to rehearse about 20 numbers. Solid support from Lennart Eliasson on bass and drummer Jan Andersson who also handled the introductions. A real treat for the Spotnicks fans among us, a fine introduction to anyone unfamiliar with the music of the Spotnicks, and a great start to the 2003 Convention.
I for one hot-footed it over to Tony Hoffman's Shadsfax stall to pick up a copy of Destination Moon. A special mention to Ake Hammerin who was instrumental (pardon the pun) in bringing The Goldfingers to London.

The Goldfingers: Ghost Riders In The Sky / Spotnicks Theme / Last Space Train / Rocket Man / Moonshot / Johnny Guitar / Hava Nagila / Take Five / Karelia / Highway Boogie / Hot Toddy / Thundernest / Just Listen To My Heart / Hang On / Spanish Gypsy Dance / Old Faithful / Pony Express / Last Date / Amapola / encore: Space Walk

During the interval, entertainment was provided by Maurice Woodcroft of the South Wales Shadows Club who played a selection of Shadows and Shads-style numbers. As always there was an opportunity to look for more goodies on the stalls, to refill glasses at the bar, or simply to catch up with friends old and new. The next slot on the programme was filled by a group from Holland with a real pedigree.

The Classics have a number of CDs to their credit with varying line-ups, but always with Paul Selier. Paul is a well-known figure in the instro scene, having also played with The Tickets, The Giants and The (Dutch) Dakota's, and founded Echo Records to promote the music we all love. Joining Paul were Jon Blonk on drums, Rob Pronk on rhythm guitar and Johan Schippers who started the set on bass. And a good set it was too, mixing Euro sounds with Ventures numbers and some of the less familiar British material. It is quite refreshing to hear a set which combines such varied influences. One of the instrumentals which was new to me was Mirage, about half way through The Classics set. This featured a drum solo, during which Paul and Johan swapped lead and bass guitars for the remainder of the set. Nice touch. It was really enjoyable to hear material from the Jumping Jewels, Rene & The Alligators and so on.

The Classics: Ajoen Ajoen / Yellow Jacket / Africa / Ginchy / Last Date / Gully-ver / Good And Bad Times / Black Swan / Mirage / Gonzales / How's M'Chicks / Boots / Comin' Home Baby / Harlem Nocturne / Ram Bunk Shush / Alligator Dance / Fried Eggs / encore: Jumping Can-Can

No Pipeline quiz this year, but another set under the aegis of the Shadsfaxers. Ian McCutcheon is a well-known face at Shadows clubs up and down the country and his Shadows Workout CDs are valued by aspiring Hank Marvin stylists. Ian entertained Pipeliners to a variety of Shadows numbers - using his own backing track CDs, of course!

Topping the bill at this year's Convention, The Vibratos should have occupied that spot last year, but as Warren Bennett explained, he and Mark Griffiths were otherwise engaged in the backing band for "Frank Martin". Making only their second live appearance, their visit to the Convention was eagerly awaited. With Warren on keyboards and guitar and Dick Plant on lead guitar were Mark on bass and Dave "Robbo" Robinson on rhythm guitar. The daunting task on sitting on the drum stool, occupied by Brian Bennett at Shadowmania, fell to Robbo's fellow member of Past Masters, David Eyre, who proved to be more than up to the job. As at Lakeside, the Vibratos opened with a Shads number, The Rumble, followed by Brian B's composition for The Krew Kats, Jack's Good. An Outlaws number preceded two tracks from the first Vibratos CD. Warren and Dick have a great love of some of the classic British instrumentals, and the band gave us super versions of two of them: The Storm by The Hunters and Rhet Stoller's Chariot. From the latest Vibratos CD came the Theme From Department S, then Dick's own composition The Peacemaker. Another great, but often overlooked classic instrumental is Ron Grainer's Bristol Express, originally recorded by The Eagles but given The Vibratos treatment at Pipeline. A cracking version of Jezebel was followed by a straightforward Joe 90, without the drum solo which the band incorporated at Shadowmania. The set concluded with the tongue-in-cheek Grieg and a closing Shadows number. Inevitably there was an encore, a Ventures-influenced version of Walk Don't Run. Once again, a memorable set from a band who care very much about instrumental heritage - even asking for suggestions on the Shadow Music website - but still incorporate a healthy degree of originality.

The Vibratos: The Rumble / Jack's Good / Indian Brave / Rawhide - Gunfight At The OK Corral / Ghost Of Old Compton Street / The Storm / Chariot / Department S / The Peacemaker /Bristol Express / Jezebel / Joe 90 / Grieg's Piano Concerto / Big Boy / encore: Walk Don't Run

As a bonus, Warren and Dick put together a Convention CD-EP which was available from the ever-genial Pat and John on the Leo's Den stall. Even if you were not there, it is well worth acquiring as it includes tracks which the band featured on Easter Sunday and at last year's Shadowmania.

Footnote:
As I came into the hall towards the end of the Twang Gang set, I noticed a well-known instrumental fan sitting in the audience wearing his slippers. The Convention is a bit like that, as you feel at home right away. It is worth reminding those who attend, and those who don't, that the Convention is run on the proverbial shoestring by a dedicated and enthusiastic band of volunteers, and that the bands who play every year do so because they want to be there and not because they make vast sums of money, because they don't! To The Goldfingers, The Classics and The Vibratos, the stallholders, not to mention Alan, Dave and the other Pipeliners backstage and front-of-house, a heartfelt "thank you" from this instro fan.

TWANGTASTIC DAY!

Rob Bradford reports on Pipeline 2002
The 10^{th
Pipeline Convention}

^{Within ten minutes of arriving at the Conway Hall it was obvious that it was going to be a twangtastic day. Ian McCutcheon was breezing his way through "Valencia" and I'd already spoken to (in no particular order) Bill Bryan, Steve & Helen Terrell, Uncle Alan & Uncle Dave, Clive Poole, Jim Nugent, George Geddes, Paul Keyes, Trev Faull, Maurice Preece, Pat Terrett, Zoe McCulloch, John Tuck, his brother Jeff who's also a drummer (with The Flames) and Jan & Colin Pryce-Jones. Phew! It was already like an instrumental Who's Who and that was all before the enticing CD and record stalls which included some of those already mentioned plus MoviMusic (with the delightful Jolanda), Gerry Woodage's Ventures pitch, Shadsfax, Leo's Den and Bob "Bim-Bam" Thomas.}

^{OK I admit it, I am an instrumental CD-aholic. Before the first group was onstage I'd already spent £60! The hall was heaving with numerous other poor souls who were similarly afflicted. Time to form a mutual support group, eh?}

^{Before long people were settling into their seats and eagerly awaiting the first ever UK appearance of Los Jets…..}

^{LOS JETS}

^{Time Is Tight / Walk Don't Run / Guitarra Enamorada (Lovers Guitar) / Apache / Atlantis / Walkin' / The Stranger - Kon-Tiki / Wonderful Land / Dance On! / Zorongo Gitano / Shadoogie}

^{Rhythm guitarist and group founder Santiago Gonzalez has been playing in instrumental groups for 44 years. He still clearly retains loads of enthusiasm for the job and his playing retains a sprightly buoyancy. Veteran drummer (and announcer) Eduardo Batrina has notched up 38 years service with Los Jets, having previously formed the respected Spanish instrumental group Los Rangers. With various original group members over the years leaving, retiring and (sadly) dying, newcomers have had to be drafted in. Four years ago Santiago and Eduardo enlisted the services of Rafael Laviada (lead) and Elena Senderos (keyboards). The most recent addition has been that of Antonio Reyes on bass guitar.}

^{Los Jets have a proud history (fully detailed in Pipeline 54) and have often been dubbed "The Spanish Shadows". In Spain and the countries of South America, they notched up no fewer than seven No.1 hits (and numerous other chart successes) during the period 1961-1965. That's quite an impressive pedigree.}

^{From the opening bars of "Time Is Tight" onwards, it became obvious that we were in for a real treat. Elena ably demonstrated that she is a fine keyboard player during a lively romp through the Shadows' arrangement of "Time Is Tight". In fact, Elena's keyboards are integral part of the group's sound - never obtrusive, but fully meshing into the overall sound as rhythm instrument when not replicating generic string parts (as on "Atlantis", "Wonderful Land" etc.).}

^{Although sticking closely to the Shads' versions, Los Jets' sound contains a certain edge and minor detail differences in performance to make them sound just that little bit different. "Walk, Don't Run" was given a punchy treatment whilst the Fentones' "Lovers Guitar" (which, as "Guitarra Enamorada" had been a No.1 hit for Los Jets) flowed along very dreamily. "Shadoogie" was great and was used as a vehicle for all group members to perform a series of mini solos.}

^{Unquestionably the highlight of their set was the performance of their very first Spanish No.1 from 1961: "Zorongo Gitano". It's refreshing after over 40 years of collecting to hear a "new" track and be completely blown away, it's a superb original which was previously unknown to me. "Zorongo" has a wide dynamic range from hushed, almost silent passages to vibrant, exulting sforzandos with sonorous ringing chords. While the group provided a tight rhythmic backdrop, Rafael was free to liberally demonstrate a variety of techniques and sounds during his flamboyant solos. A thoroughly enjoyable and professional set from Los Jets and CDs of their '60s material will obviously be worthy of investigation.}

^{In between the sets by the main groups, Tony Hoffman (genial main-man and editor par excellence of Shadsfax) had arranged for a whole series of guitarists to play along to a series of backing tracks from the UB Hank CDs or Ian McCutcheon's splendid Shadows Workout series. I didn't catch all of these Shadfaxers performances, but we owe each and every one a debt of gratitude. It takes a lot of nerve to get up there and play in front of such a knowledgeable group of fans.}

^{Of course, some players are actually very talented and experienced (but genuinely modest). In this group I would place Hoffers himself (who has the approval of a certain Hank Marvin… you'll have to ask Tony about that yourselves) who gave us a splendid "Shindig", Ian McCutcheon (who delighted with several numbers), Sir James of Nugent (with "The Rumble" and "Scarlet O'Hara") and several other players whose names mostly remain unknown to me - but well done Lee Argent. During such a long day, fans simply had to use the breaks between acts to eat, drink, chat, buy CDs and visit other facilities. That must've sometimes made it difficult for our 'Faxer Guitarists as their potential audience sometimes diminished. Nothing to do with your playing, guys, just a matter of logistics. Thanks to all of you. Next up was a group from Eastbourne, Lost 4 Words…..}

^{LOST 4 WORDS}

^{Pipeline / Man Of Mystery / Bustin' Surfboards / Penetration / Hit And Miss / Just For Jerry / The Good, The Bad And The Ugly / Sunset Riders / Theme From Shane / Ghost Riders In The Sky / Magic Carpet / Samovar / Hava Nagila / Dream Of The West / Tequila / Wild Weekend / Rebel Rouser / Diamonds / Misirlou / Happy Birthday - Red River Rock / Lost 4 Words Theme / The Rise And Fall Of Flingle Bunt}

^{These young looking guys certainly looked the part with their snazzy matching silver suits and with two guitarists sporting red Fenders. Full marks to them for an incredibly varied set list including seldom played covers from such diverse artists as The John Barry Seven, The Dakotas, Joe Brown, The Rocking Rebels, Dick Dale, The Krew Kats, The Outlaws and many more. It was an interesting contrast between them and the other groups. Los Jets were the "Spanish Shadows", The Charades specialise in early to mid '60s Ventures, Legend specialise in The Shadows' Burns era and The Tornados are unique.}

^{Matt Saunders (drums) and Tim Izzard (bass) always provided a rock solid foundation upon which guitarists Paul Morris (rhythm) and Jim Wootten (lead) built admirably. A nifty "Pipeline" was followed by "Man Of Mystery" before Lost 4 Words turned to surf again (all donning cool Raybans) for exhilarating romps through The Tornadoes' "Bustin' Surfboards" and the Pyramids' "Penetration". During these numbers, Paul was "surfing" on a suitably psychedelic wedge!}

^{Other highlights from their eclectic set included "Hit And Miss" with Paul cleverly replicating the pizzicato strings of the JB7's original by playing his guitar through a synth simulator device, a truly rousing "Ghost Riders In The Sky" (which received a tremendous ovation) and a superb "Hava Nagila" (even more resounding response), although Jim didn't attempt Joe Brown's guitar-behind-the-head technique (which he once told me "is actually quite easy really!").}

^{You want more? How about a very ambitious arrangement of "The Good, The Bad And The Ugly" which Jim turned into a guitar workout tour de force. Not to mention a fiery "Wild Weekend" and "Happy Birthday" (dedicated to Big Al & Little Dave for Pipeline's 10th event) interpolating with "Red River Rock". Their original "Lost 4 Words Theme" is quite a tasty dual guitar item and "Misirlou" (with Paul wielding a fake toy sax whilst playing the part on keyboards) was a joyous out and out blasting thrash. A really promising group who brought an element of real fun and enjoyment into the proceedings.}

^LEGEND

^{The Lost City / It's A Man's World / Main Theme From Rhythm 'n' Greens / Blue Sky, Blue Sea, Blue Me / Zambesi / Maroc 7 / It's Been A Blue Day / Santa Ana / Waiting For Rosie / In The Mood / Temptation / The Miracle / Genie With The Light Brown Lamp / You Gotta Have Heart / I Wish I Could Shimmy Like My Sister Arthur / Chattanooga Choo Choo / Deep Purple / Now That You're Gone / Tennessee Waltz / The Flyder And The Spy}

^{And so we moved swiftly on to Legend….. As the group themselves say, the last year or so has been the stuff of dreams for them. The majority of the group members played in various pro and semi-pro groups during the '70s and early '80s before jobs and families put an end to their regular playing days for nigh on 20 years. Their common ground was a love of Shadows music, particularly the 1964-1968 period when the Shads were playing Burns guitars. In the late 1990s, they met up at the East Yorks Shadows Club in Scarborough.}

^{After getting to grips with playing again via the ubiquitous UB Hank/Shadows Workout backing track CDs, David Martin (lead/rhythm), Terry Carter (lead/rhythm), Chris Jarvis (bass) and Martin Verrill (drums) gravitated towards playing live sets as a group, concentrating on the Burns era tracks. David Martin is also well known for having set up the fantastic MSN Shadows Web community Site (www.shadowmusic.co.uk <http://www.shadowmusic.co.uk>), which has done so much for aficionados of the Shads and instrumentals generally. Bruce Welch has been a great support/influence and has even joined Legend onstage as has Warren Bennett, whose friendship and input is truly genuine.}

^{The group went from strength to strength and then came an offer from Joop and Jolanda at MoviMusic to record a CD. Legend were thrilled but initially a little uncertain. Now, here comes the Dream Come True part. Warren Bennett heard about the project. This amazing man offered Legend his services as MD, arranger, keyboard player and producer! Not only that… would they like to record the CD at Brian Bennett's Honeyhill studios and have the equally legendary Dick Plant as sound engineer! The CD was launched at Pipeline 2002 and mighty fine it is too.}

^{Legend's 20 number set was neatly divided so that David and Terry played lead or rhythm on exactly half of the set each. They were equally impressive when playing either. As an added bonus, Trev Faull (noted author and keyboard wrestler extraordinaire) joined the group on keyboards because "Warren Bennett is abroad playing keyboards for someone else!" I have to say that Trev was excellent, beginning with the haunting "Blue Sky, Blue Sea, Blue Me" where his lush synths overlayed Terry's sensitive lead work. "Maroc 7" was superb with David Martin expertly re-creating those tremulous opening guitar figures before playing the noble theme in suitably stately style. The whole group was excellent and Trev did wonders to suggest the full orchestra on just a single keyboard. "It's Been A Blue Day" is similar to "Blue Sky…" and Terry was again on prime form as was Trev, playing a much more intricate keyboard part. Finally, what a joy to hear Terry & the boys on the magnificent, but rarely performed, "The Miracle". Again Trev's contribution was splendidly vital, but even he couldn't play the full orchestral part as well as adding those sublime harp arpeggios (so they were absent).}

^{David Martin spoke with genuine feeling when publicly thanking Warren, Joop, Jolanda, Ian McCutcheon, Pat Terrett, fans generally, Pipeline specifically and Bruce Welch for their help, encouragement and support. In fact, Bruce was amongst us and David dedicated "Temptation" (a rousing performance) to him because "the rhythm guitar part is even more difficult to play than 'The Savage'!" Every track was sheer delight and I'm only spotlighting a few of my personal faves (one of the reviewer's few perks).}

^{Simply great to hear the seldom performed "It's A Man's World", "You Gotta Have Heart", "I Wish I Could Shimmy…" and "Flyder And The Spy". David's beautiful leadwork sparkled on the beguiling "Now That You've Gone" and Terry gave us a beefy "Zambesi". Inevitably attention tends to focus on the lead, but I must stress that Chris and Martin were superb throughout in their supporting roles.}

^{In fact, as the set wore on, I began to concentrate more upon these two. It became apparent just how closely they managed to recreate the sound and feel of the Rostill/Bennett bass/drums interplay of the day. It's revealed even more on the CD, because Chris Jarvis doesn't just play bass, he pays homage to John Rostill by playing bass as he would have done. So full marks to him and drummer Martin, it's quite uncanny. A marvellous example was in the group's outstanding performance of the intricate "Waiting For Rosie". Top-notch stuff. I recommend that you buy the CD as it also contains a couple of tasty Warren Bennett originals amongst the splendid cover versions. (The) Legend Lives!}

^{And talking of legends, we then saw one in the making as onstage came The Charades…..}

^{THE CHARADES}

^{Hawaii 5-0 / The Pink Panther Theme / Walk Don't Run '64 / Rap City / The Savage / Lost In Waves / She's Not There / The Stranger / Theme From The Persuaders / Washington Square / Skylab / Love Potion No.9 / From Russia With Love / Besame Mucho / Inter Ceptor / Journey To The Stars / Woolly Bully / Diamond Head / Get Ready / Yozoro No Hoshi}

^{Hannu Kononen (lead), Marko Rahikainen (rhythm), Leo Eerikainen (bass) and Jari Moberg (drums) are The Charades - yet another instrumental combo from Finland. I knew precious little about them, only their reputation preceded them. After all, "In Motion" was Pipeline's album of the year and 1,000,000 Pipeline fans couldn't be wrong, could they? I knew that the group specialised in recreating the early to mid-sixties Ventures sound and that was about it. I didn't have a copy of "In Motion" and so decided to buy a CD shortly before the group took to the stage. Then I retreated to my balcony vantage point, not knowing quite what to expect.}

^{The curtains parted to reveal The (men in black) Charades standing coolly waiting to commence. Within a few seconds I was struck by a couple of thoughts:}

^{1) The rhythm guitarist was a dead ringer for Mike Gross.}

^{2) Even before they'd played a single note they seemed to radiate those somehow indefinable qualities attitude and stage presence.}

^3)…..

^{There was no 3 because the next thing that struck me was a massive sonic blast as Jari launched a frenzied attack on his drums and the group blasted into a rip-roaring "Hawaii 5-0". What a tremendously powerful yet clean sound. A simply magnificent rhythm section topped by Hannu's excoriating (and very fast) lead guitar. The group didn't need the orchestra that graced the original recording. They created their own aural Tsunami. Book 'em Danno! What an explosive start.}

^{Next up was a fast, tight and vibrant take on Henry Mancini's "Pink Panther" in the Ventures setting. Impressive stuff. The Ventures were never slow to latch onto changing musical trends. In 1964, they decided to re-work "Walk Don't Run" in the manner of The Chantays' "Pipeline". The Charades powered through the number with belligerent panache. Urged along by Jari's fast sledgehammer drums and throbbing bass, Marko fired out those spitting rhythm runs and as for Hannu… well, close your eyes and it could've been Nokie up there.}

^{Still no let up as the group now eviscerated one of Brahms' Hungarian Dances, better known as "Rap City", which had even more power than the Ventures original! In fact, that is what's so impressive about The Charades. They are to that early Ventures sound what our beloved Rapiers are to the classic British instros. Viz: they take the style and the sound, lovingly study and recreate it (technical perfection and accuracy is a must) and then improve upon it. The Charades have an enormously powerful sound, formidable technique, class and style. Plus, their ensemble is almost telepathic. Quite remarkable.}

^{"The Stranger" is, of course, from Borodin's "Psolotvian Dances". Back in 1955 several of its themes were "borrowed" for the film "Kismet", and "Stranger In Paradise" became a massive hit for no fewer than six acts simultaneously (with Tony Bennett taking his version all the way to No.1). The Ventures turned it into an exciting instro. Incredibly The Charades again manage to eclipse the original. The arrangement is identical but simply played faster and louder with vicious energy.}

^{"The Savage" is the Ventures arrangement. Very well played too (though I still think that the Shadows' original is unsurpassable). "Lost In Waves" is a superb original swamped with reverb and dripping with echo. Maybe I can pay no higher tribute if I say that it could easily be mistaken for one of those Wilson-Bogle-Edwards-Taylor originals which frequently resided on those sixties albums.}

^{Hey, remember how The Ventures used to cover vocal hits and turn them into monster instros? Well, boy do The Charades demonstrate just how this was done with great style and flair. "She's Not There", "Love Potion No.9", "Woolly Bully" and The Temptations' "Get Ready" were all delivered as brilliant instrumentals by The Charades. Look, I could go into detail about every track, but I'm beginning to run out of superlatives. The Charades are simply sensational. I notice that only six tracks from their amazing live set at Pipeline are on "In Motion". I hope that they'll get around to releasing another CD PDQ!}

^{I'm glad that I picked up "In Motion" before The Charades' set because when I got to their table five minutes after they'd finished, every single one had sold out! I've got lots of versions of the brilliant "Journey To The Stars" and "Diamond Head" by other groups but (apart from The Ventures themselves) I've never heard them played better than The Charades played them today. I now want: a) to dig out my Ventures CDs and play some of the tracks again, and b) obtain more recordings by The Charades.}

^{Alan and Dave maintain that they got the best reception of all of the many groups that have graced Pipeline's ten conventions. They are certainly most impressive and I'd like to hear them again very soon. I've just thought of one word to sum up their performance: Compelling!}

^{Headlining this year were The Tornados…. Instead of the customary introductions from either Alan or Dave, a guest announcer appeared. It was none other than Bruce Welch. It's wonderful that artists of his stature lend their support to the Pipeline Convention. Bruce has been a regular visitor down the years. Bruce was really there, as he explained, to meet his old friend Clem and to introduce The Tornados. In fact, Clem and Bruce have remained good friends since they first met at the 2 I's way back in 1958. "Back in the 1960s" explained Bruce, "we regarded The Tornados as just about our only serious challengers in terms of instrumental hits."}

^{In the pantheon of British instrumental groups The Tornados are amongst the all time greats. Under the aegis of legendary producer Joe Meek they cut some fabulous instrumentals. "Telstar" is undoubtedly one of the greatest records ever made with global sales currently estimated at 11 million copies. It should have made Joe Meek and The Tornados very wealthy. As many of you know, because of a whole series of appalling and wretched circumstances, that didn't happen. The music industry was (and still is) littered with stories of rip-offs and deception. Unfortunately The Tornados were blighted by these problems. The music was great though.}

^{In a recent Gandy Dancer poll there was a category something along the lines of "Group Most Wanted To Reform". I think that The Shadows were at the top of that chart (someone please write in to correct me if I'm wrong) and at No.2 were The Tornados. From the original line-up both Alan Caddy and Heinz Burt have sadly died, Roger LaVern has had surgery on his hands and now only plays occasionally, and George Bellamy made it clear many, many years ago that his Tornados days are a thing of the past.}

^{But there is one very special person who is still there, namely drummer Clem Cattini. Clem is very modest, but he is definitely one of the finest drummers ever to emerge from the UK. After he left The Tornados in 1965, Clem became one of Britain's top session drummers. Amongst his numerous achievements is playing on literally hundreds (if not thousands) of chart hits. It's been confirmed that he has played on 42 No.1 hits (beginning with Johnny Kidd's "Shakin' All Over" in 1960). In fact, he's probably played on over 50 No.1s which is simply incredible. He's even played the Conway Hall many times before (backing David Bowie on one occasion). In fact the venue was the scene of his professional debut with Terry Kennedy's Rock 'n' Rollers back in 1957. More importantly for us, Clem was a founder member of The Tornados and played on every track that they recorded between the end of 1961 and the beginning of 1965.}

^{Clem and Roger LaVern are the legal owners of the Tornados name. In 1989 Clem decided to reform The Tornados but with the addition of female vocalist Lynne Alice (who tragically died just over a year ago). The emphasis was mainly on vocals with only three or four instrumentals regularly featuring in their shows. Nevertheless, we should all be grateful that Clem has kept The Tornados going for the past 13 years.}

^{Guitarist (and fine singer) David Graham has been with Clem since 1989. For tonight's special all-instrumental set (something that many of us have dreamt about but never thought that it would ever happen) Clem enlisted the services of Derek (Del) Griffiths on guitar. Del has played with such luminaries as The Artwoods and Keef Hartley, so his musical roots go back to our Golden Era. Bassist Colin Farley (formerly with '80s hit makers Cutting Crew) joined The Tornados after the departure of the long-serving Dave Harvey. Bip Weatherall (who also notched up over a decade's service) was replaced on keyboards by Kevin Earl. However, I noticed that Kevin was absent and a gentleman by the name of Brian Miller was on keyboards, of which more later.}

^{Clem's intricate drumming patterns introduced "Jungle Fever". Normally this segues into another track after about thirty seconds in the group's normal set, so it was great to have a full performance. The group was immediately into its stride with Brian expertly recreating Geoff Goddard's idiosyncratic stylings, particularly on the stabbing/staccato passages. It was impossible to recreate Joe Meek's overdubbed exotic jungle FX, but it was still great to hear this track played live in full. Next up was the bubbly "Globetrotter" which was a huge jog-along hit despite a) having passages almost identical to "Venus In Blue Jeans", and b) the group absolutely hating it. Clem (with self deprecating humour) related the anecdote of him daring to tell Joe Meek that he despised the track, thereby invoking the notoriously volatile Joe's wrath. Clem fled downstairs rapidly followed by a dangerously heavy tape deck hurled at him by the apoplectic producer!}

^{Everyone (and subsequently fans too) felt that "Globetrotter" should have been held over in favour of George Bellamy's fantastic "Ridin' The Wind" which is a glorious guitar/organ led opus. Brian Miller was outstanding on keyboards and Del & Dave combined to faithfully recreate Alan Caddy's atmospheric twanging solos. "Robot" worked a treat with drums, organ and guitars combining to achieve the effect of those clanging chords at the opening of the original, whilst "The Ice Cream Man" exuded all of the rinky dink, ice rink Mr. Softee charm of the 1963 cut. Strange how some tracks simply evoke the feel of a bygone era. Although "Life On Venus" may have been dubbed "Son Of Telstar", it was still too good a track to have been buried on the B-side of "Robot".}

^{It was at this point that I thought of the danger of taking all of this for granted. What a superb job Clem and the group were all doing in their professional yet inimitable (apparently) laid back style. "Dragonfly" represented a change of direction back in 1964, with the usual organ/guitar roles being reversed. Del had done his homework as he stylishly reeled off his superb solos. Like "Jungle Fever" (which it was partly based on), "Hot Pot" was missing Joe's bizarre FX but the group captured the weird overall sound admirably. The next track, "Exodus", was a real highlight. Jimmy O'Brien had been the organ soloist on both the 1964 single and the live recording from Blackpool. It was O'Brien's own arrangement which made it such a great single. Brian Miller was superb, he captured both the sound and every nuance of O'Brien's dramatic, swirling patterns during a performance of convincing grandeur and integrity with Dave Graham providing the brief, but stinging guitar passages.}

^{"The Man With The Golden Arm" was not a Tornados number, nor was this version related to Jet Harris's 1962 classic. No, this was unique as The Tornados harked back to Elmer Bernstein's 1950s score and added some original touches of their own. Very fluid and jazzy with everyone in fine form, particularly Colin deploying his bass as the lead instrument. "Wipeout" likewise became a sort of Surfaris/Saints hybrid. Clem gave a masterly display of how less is more during the drum breaks. Ron Wilson would've been proud as Clem, as David Graham wickedly put it: "A legend of the 60s, now in his 60s", played with all the energy and enthusiasm of a youngster only with the added advantages of years of experience and brilliant technique.}

^{Max Steiner's beautiful "Theme From A Summer Place" was popularised by Percy Faith. The Tornados never played the track live and it was sheer delight to hear it. Alan Caddy had borrowed his solo from a certain Mr. Chet Atkins and Del Griffiths was in outstanding form during a most mellifluous performance. Again The Tornados didn't record Booker T's seminal "Green Onions", but what a superb version this was. Really slinky, smouldering and brooding as the band stoked up the atmosphere and upped the ante little by little including a biting guitar break by Dave Graham. Instrumental playing of the highest calibre by all concerned.}

^{"Love And Fury" was The Tornados' first release and was a tribute to Billy Fury. All of the ingredients of the Tornados sound were present and correct. It deserved to be a hit. Again, the 2002 Tornados were on top form from Clem's rapid snare rhythms to Del's eerie sounding metallic lead breaks. The ultra rare "Swinging Beefeater" (amongst the first tracks recorded with Joe Meek) was also superbly played by Del on lead and he later performed heroics on the jazzy "Earthy". "We sometimes needed titles for instrumental tracks" recalled Clem, "Alan Caddy wrote 'Earthy' so he named that one. 'Swinging Beefeater', I don't know why it was called that. Nothing to do with the Tower Of London. I think it was just because Alan loved beefburgers!"}

^{THE TORNADOS}

^{Jungle Fever / Globetrotter / Ridin' The Wind / Robot / The Ice Cream Man / Life On Venus / Dragonfly / Hot Pot / Exodus / Man With The Golden Arm / Wipeout / Theme From A Summer Place / Green Onions / Love And Fury / Swinging Beefeater / Earthy / Telstar}

^{And so to "Telstar", which still has an emotional charge even after 40 years and over 500 cover versions. That is the mark of a truly great original. Referring back to Bruce's opening remarks, Clem related that the music press tried to fabricate rivalry between The Tornados and The Shadows. "There was rivalry, but on our part (i.e. the respective groups) it was always friendly. In fact when 'Telstar' reached No.1, The Shadows sent us a congratulatory telegram." The 2002 convention closed to the majestic strains of the immortal "Telstar" and, for an encore, the Tornados were obliged to play it again. A fitting close to a brilliant day.}

^{Here I must congratulate the remarkable Brian Miller. On Wednesday evening, i.e. only three working days before Pipeline, Brian received a call from Clem to say that Kevin Earl had broken his arm. Could Brian help out by deputising and playing keyboards on 18 numbers, 17 of which he'd probably never heard of before, and there was no sheet music available! As Brian had known Clem for over 30 years, they met up whilst backing Dana as well as playing together on numerous sessions, he said yes. On Thursday Clem sent him some Tornados CDs. Brian listened to them and spent two days transcribing the arrangements.}

^{Following that he had just one rehearsal before the show. Let's face it, virtually every Tornados number depends on the organ as lead instrument. Now, he could have just played through the set and that would've been an incredible achievement in itself. But he went further by listening carefully to the different playing styles of Geoff Goddard, Roger LaVerne and Jimmy O'Brien. Not only that, Brian recreated different organ sounds by a combination of loading in some old Vox samples and constantly adjusting assorted echo and reverb settings. What a lovely guy too. He was very modest about his playing, but did confess that he'd played in West End shows, including "Cats" for over 20 years.}

^{Derek Griffiths was equally modest and affable. He told me that he desperately wanted to get as close as possible to Alan Caddy's guitar sound (which was frequently enhanced by Joe Meek on recordings) and had spent hours experimenting with different amps, echo boxes and settings. We should all applaud the dedication of these people to their art, and indeed all of the acts because it shows their total dedication and the fact that they care. In this day and age, that's quite something.}

^{Last but not least a big heartfelt thanks to Alan Taylor and Dave Burke (plus their dedicated wives, children, other close relatives and helpers) because without them none of this would happen at all. There are numerous other folks to thank too, but those dedications should come from Alan & Dave themselves and not me. For those of you couldn't make it, I hope that this write up and the forthcoming video will suffice.}

^{Guys, here's to the next Twangtastic Decade.}

Below are reviews of the last 3 PIPELINE Conventions

PIPELINE 2001
an instrumental odyssey by George Geddes

It was always going to be a rather different Convention this year. The customary venue, the International Students House near Regents Park, was undergoing refurbishment, and both sets of organisers were reluctant to commit themselves to using it in case the promised completion date for the work was not achieved. (Ed's note: It wasn't.) The Duane Eddy Circle opted to hold their event south of the Thames at the Oval, and for a time it looked as if Pipeliners might join them there, but Dave and Alan decided that the risk of repeating last year's visit from the local Environmental Health Officer over noise levels was too great. So it was that we gathered this year at the famous Conway Hall in Bloomsbury.

Although the lack of a suitable venue meant no Saturday night pre-Convention glass of orange juice, there was an informal gathering at the Bonnington Hotel, attended by the Scandinavian contingent and sundry other Pipeliners. The obvious disadvantage of the relocation was that attending both events was not possible, but on the plus side there was an earlier start and an earlier finish for Pipeline, and more time for the changeover between groups.

The Secrets

The Secrets have been a hit at those Saturday night pre-Convention sessions for the last two years. This year, they had the responsibility of getting the Convention itself underway, and they coped with the task ably. With well-known instro fans such as Pipeline co-editor Dave Burke on drums, author and CD compiler extraordinaire Trev Faull behind the keyboards and writer / reviewer Jim Nugent on guitar being joined by Pipeline's video supremo Ray Liffen (also on guitar) and Pete Walter (bass), this is a band with a good pedigree. However, their set showed that they can also deliver the goods.

It is almost impossible to write about the quintet without using the word "eclectic" to describe a repertoire which ranges from John Barry to the Ventures, via the Shadows, Chris Watts and Bert Weedon. All the tracks they played are featured on their first CD Top Secret. The music is treated with respect but not reverence, and the group do not mind adapting particular tracks to suit themselves. Particularly enjoyable were the finger-busting El Cumbanchero with Jim on Fender Bass VI, Bird Rockers, for which he switched to a Fender XII, and the arrangement of George Martin's Theme One. Only one original, the Nugent-Walter collaboration Spy Society, but a fine set with a good mixture of the well-known and the not-so-familiar, indicating how varied the world of instrumentals can be.

The Secrets

Hit And Miss / Saturday Night At The Duckpond / Saturday's Child / Ginchy / Man From Uncle / Spy Society / Secret Agent Man / Custer's Stand / Tales Of A Raggy Tramline / El Cumbanchero / Bird Rockers / Pipeline / Theme One / Peter Gunn

 This year, there was no separate Guitar Room, but once again Tony Hoffman had ably organised a team of Shadsfaxers to provide music in between each act, utilising a "mini-stage". First up were Tony himself, David Martin and Joey Dee - joined on bass by Hoss Van Hardeveld, of whom more later.

The Reflections

The curtains re-opened on the main stage, as the young Norwegian band began a programme of Shadows influenced music. No strangers to the UK, having played at Shadsfest and been the opening act for Shadowmania in both 1998 and 1999, the group have also played at many other Shadows events through Europe. It was a slightly different line-up, with new rhythm guitarist Ole Reidar Gudmestad joining lead guitarist Svein Arild Tjemsland and the Brekken brothers, Arild and Kjetil, on bass and drums. The Reflections set was based mainly on Shadows material, but in recent years they have been adding to their repertoire. At Pipeline 2001 they included Lennart Clerwall's Gypsy Woman, the Spotnicks Old Spinning Wheel and an impressive version of Exodus which saw Svein Arild drawing varied tones from his Stratocaster, against changing rhythms from the rest of the band. For the guitar-spotters, Ole swapped his Stratocaster for a Jazzmaster (still red, though!) to give a different rhythm sound on a couple of numbers. With a polished presentation, this foursome get better and better.

The icing on the cake for Shadows fans was a guest appearance by a familiar figure. Just prior to the Convention, it was thought that Arild Brekken would be required for national service in Norway. Who better to take his place than Alan Jones? However, Arild was able to make it to London, but Alan came along in any case, and played bass for Shadoogie, Temptation and Blue Sky, Blue Sea, Blue Me. As always, a consummately professional performance. In addition, both bassists took solos in Nivram and Alan returned to the stage for FBI and the encore Apache.

The Reflections

Shazam / Chattanooga Choo Choo / Brazil / Tonight / In The Mood / Gypsy Woman / Old Spinning Wheel / Lara's Theme / Shadoogie '83 / Temptation / Blue Sky, Blue Sea, Blue Me / Nivram / The Rise And Fall Of Flingel Bunt / Exodus / Quartermaster's Stores / FBI / Apache

 Ian McCutcheon took over for the Shadsfaxers, playing along with his latest Shadows Workout CD, which maintains the high standard of its predecessors.

The Moontrekkers

Variety is an essential part of the Convention experience, so the main stage was turned over to The Moontrekkers who were paying a return visit to Pipeline. This was a slightly different line-up from the one I had seen at the 3rd Convention in 1995. Joining Peter Knight on keyboards and Steve Trounce, who had switched from rhythm guitar to bass, were Paul Mitchell on lead guitar and Max Knight, drummer with one of the later incarnations of the original band. As the set-list shows, their own singles were interspersed with classic instrumentals. Peter commented that, having heard a beautiful version of Exodus from the Reflections, we were about to hear an ugly one! It wasn't ugly, though, just different, since it featured keyboards rather than guitar. This was the first time I had seen Diamonds played on a four-string bass - though probably that could only be done on a Rickenbacker with its characteristic trebly sound. Several numbers featured Peter Knight playing the clavioline - a highly temperamental instrument - actually used on the original version of Telstar. A little bit of history, and a link with the golden days of rock instrumental.

The Moontrekkers

Nut Rocker / Peter Gunn / Battle Hymn / Red River Rock / Rebel Rouser / Exodus / Sleepwalk / Telstar / Drums Are My Beat / Bogey Man / Diamonds / Night Of The Vampire / Green Onions

The Shadsfaxers maintained the high standard of their contributions while we waited for the next band, and a return to Shadows-influenced sounds on the main stage.

The UB Hank Guitar Club Band

The UB Hank Guitar Club Band have only existed for just over a year, but their fine performances at Shadows fan events throughout Europe had been noted by the Convention organisers, and this, their first British appearance, was eagerly anticipated. Opening with Main Theme - one of their signature numbers - the five-piece line-up gave a slick professional performance, with the music punctuated by Radio Luxembourg jingles and advertisements which brought knowing nods from those of a certain age.

The UBHGCB line up as Martin de Liefde and Gerard Burgerhout on lead guitar, Walther Veenstra on rhythm guitar and keyboards, Hoss van Hardeveld on bass and Henk Doove Jr on drums. Gerard, Walther and Henk were all members of The Fellows, and Hoss is a veteran of FBI, Black Albinos and, like Walther, the (Dutch) Dakotas. Although the quintet's repertoire is based on the music of the Shadows, they have worked hard in the choice of numbers and the arrangements to ensure constant variety and maintain interest for the listener. Hoss and Henk provide a firm foundation for the music, but the group's strength is in having two lead guitars. Martin and Gerard can add greater depth to familiar numbers, harmonising or contributing counter-melodies, then adopting traditional lead and rhythm roles if Walther moves from rhythm guitar to keyboards. It would be difficult to select highlights, but we got Walther's James Bond impression preceding a cracking Goldfinger, a great Slaughter... with Gerard on acoustic and Martin on electric, and Gonzales which hit like a musical sledgehammer. Neglected tracks such as Fandango, Tennessee Waltz and The Flyder And The Spy help to make the band stand out from the crowd. Bruce Welch has been sufficiently impressed by the band to book them for Shadowmania 2001, along with The Reflections, and he knows a thing or two about Shadows music!

UB Hank Guitar Club Band

Main Theme / Wonderful Land / Goldfinger / Somewhere / Another Night / Slaughter On 10th Avenue / Some Are Lonely / Fandango / Atlantis / With A Hmm-Hmm On My Knee / Tennessee Waltz / The Drum Number / Saturday Night At The Duckpond / Gonzales / Flyder And The Spy

 More from the Shadsfaxers, with Joey Dee playing tracks from his excellent new CD, before Alan Taylor provided the answers to the Golden Anorak quiz. In some ways, your intrepid scribe was quite relieved not to be one of the prize-winners, though I continue to be slightly disturbed by the amount of trivia that I do know! The last band of the 2001 Convention had some hard acts to follow, but again, this was a band with a pedigree.

The Invaders

The Invaders from Sweden had Kurt Froberg and Tom "Rocker" Olsson alternating lead and rhythm duties on Strats, P O Alm behind his Ludwig drum kit (making his third Convention appearance with as many bands!) and stand-in Ejje Pettersson from The Ryders toting a Fender Jazz Bass. Kurt looks after the Shadows-style numbers and Tom specialises in Spotnicks and a bit of country picking.

Listening to the band, you do wonder why such a cracking track as Pistoleros could remain virtually unknown for so long. Also nice to hear the Eagles Bristol Express getting an airing; later in the set The Phantoms' Eldorado was well received too. The band dabbled in the classics for Adagio and rocked up the traditional Vem Kan Sigla with some country picking in the middle. A poignant moment came as The Invaders dedicated their treatment of Golden Earrings to the late Brian Parker who had appeared with The Hunters at the previous Convention. Dakota was based on the Jumping Jewels version, and Ghost Riders was in Spotnicks style.

The Invaders made worthy bill-toppers, with a classy performance and a good balance of well-known and less familiar numbers. Many of the tracks played are on The Invaders' recent Live CD which is highly recommended. A fitting end to a successful Convention - though the nearby Bonnington once again was the venue for a little post-Convention gathering.

The Invaders

Amapola / Moonshot / Bristol Express / Pistoleros / Adagio / Caravan / Golden Earrings / Ebb Tide / Wildwood Flower / Ven Kan Sigla / Dakota / Big Boy / Pony Express / Last Date / Eldorado / Svansjon / Ghost Riders In The Sky / Walk Don't Run / Dance On

 Once again, sincere thanks to the organisers, all the bands, and to the stall holders - including regulars Bim-Bam, Dave Peckett, Gerry Woodage, Maurice Preece and Leo's Den - who are only too happy to allow us to stock up on instrumental goodies! There were plenty of opportunities to mingle with like-minded fans, and at various times during the day you could have rubbed shoulders with all of the musicians involved, Bruce Welch, Colin and John of the Rapiers, Luc from the Vickings, Indra from Park Avenue Connection, Roger from Pipeline '61, Mike "Nero" O'Neill, Alan Holmes from Sounds Inc, Jem Penney from the Surf Rats and former member of The Boys Johnny D'Hondt. Like everybody else, they are fans of the music, and it is worth stating again that Alan, Dave and the others who keep the magazine and the Convention going are volunteers. At one point during the afternoon I glanced at the inscription above the stage: "To thine own self be true". Quite appropriate really, as folks like Alan, Dave B. and Dave P. have been true to their passion for instrumental music and have helped to ensure its survival. Next year sees the tenth Pipeline Convention so, if you have not made the trip to London at Easter before, why not think about it for 2002?

PIPELINE 2000

THE EIGHTH ANNUAL INTERNATIONAL ROCK INSTRUMENTAL CONVENTION
Taking instrumentals into the 21st century!

by George Geddes

The first Pipeline Instrumental Convention of the 21st Century, and the eighth to be held. I have been fortunate to be at six out of those eight, but I looked forward to this one with a mixture of nostalgia, anticipation and curiousity. Nostalgia because I had fond memories of seeing The Falcons open the third Convention in 1995 which was the first I had been able to attend. Anticipation because I had missed seeing The Rapiers and The Hunters in 1994. Curiosity because The Centurions promised something a little different from the guitar and keyboards based bands which have tended to dominate Convention bills.

Although the basic format of the Convention has remained the same over the eight years, there have been some changes. Introduced in 1995, the informal Saturday night get-together in the bar of the International Students House is a good chance for those staying or living near London to have a chat over a glass of lemonade. Two years ago a couple of guitars and a Vox amp appeared. Last year Pipeline house band The Secrets played two sets, with guest appearances. This year the venue had shifted downstairs to the Portland Room, which had the advantage of offering more space for band and listeners but the disadvantage of being further from the refreshments! A good crowd saw The Secrets once again work their way through a variety of instrumentals including a couple of originals. The band were noticably tighter than last year, and their eclectic repertoire meant that there was some thing for everyone. And they didn't invite everyone to sing along with Spanish Eyes!!

The interval spot attracted guests from as far apart as Brazil (Eliano D'Antoni), Scotland (George Geddes and Ken Irving) and Essex (Ross Edwards), not to mention probably the most expensive guitar of the weekend, Ross's gorgeous blue PRS. Yes, I did say Brazil by the way. Sergio Haussmann do Nascimento and his party were this year's furthest travelled Convention attendees.

The Secrets: Pipeline / For Your Love / Ginchy / Time Is Tight / Saturday Nite At The Duckpond / FBI / Tequila / Telstar / Rise And Fall Of Flingel Bunt / Scarlett O'Hara / Spanish Eyes / Tales Of A Raggy Tramline // Hit And Miss / Bird Rockers / Spy Society / Peter Gunn / El Cumbanchero / Man From Uncle / Saturday's Child / Custer's Last Stand / Secret Agent Man / The Chase / Because They're Young / Theme One

 

 

Sunday afternoon kicked off with the Duane Eddy Convention, but once again no sighting of their main man. The Twang Gang rounded off that part of the day with their customary polished run through examples of Duane's repertoire, then it was time for the Pipeliners to take centre stage. Running in parallel with the Duanefest, though, was the Guitar Room set up in the afore-mentioned Portland Room. Tony Hoffman was the man in charge this year, and as well as stalls selling echoboxes and other bits and pieces, there was plenty of live music. Joey Dee acted as Master of Ceremonies as well as wielding a mean Strat himself, a fact borne out by his CD. Well known faces taking part included David Martin, Dave Buckley, Nick Kellie, Zoe McCulloch and Richard Langstone who also had his new CD on sale. Martin and Hoss from Holland were persuaded on to the stage, but who let that other pair from Glasgow play Ventures stuff amidst all the Shadows numbers?! it was a busy afternoon, putting everyone in the mood for the main event.

The usual selection of stalls lined the walls of the theatre, with vinyl and CDs, sheet music and such like to tempt the purchaser. The familiar face of Davy Peckett was missing this year, but it was good to welcome Pat and John from Leo's Den with their selection of Cliff and Shadows related merchandise.

The lights dimmed and it was down to the serious business. Opening the proceedings was a band with a new title, The Centurions, but one with some well-known names. I might be wrong, but I suspect that when Dave Gibbons and Martin Waller from the Twang Gang joined The Scorpions on stage on trumpet and sax at the Convention a couple of years ago, a little light bulb flashed above Mike O'Neill's head. With Mike behind the keyboards, Dave on trumpet and guitar, and Martin on sax, they were joined on stage by Pete Godding (also on sax), Vic Cross on bass and Scorpions Ivor Knight (drums) and John Barber (guitar). They treated us to a short set of instrumentals which mingled Mancini and Mongo Santamaria with Justis and Markeys. The audience took to the big brassy sound and the set seemed all too short.

However, all was not as it seemed. As the curtains closed, Alan Taylor promised the audience a little surprise. While we were waiting, we were treated to a sneak preview of two tracks from the forthcoming Ventures album Acoustic Rock: The Rise And Fall Of Flingel Bunt and Man Of Mystery. Alan did hint that the surprise had a Roman connection, and sure enough the curtains re-opened to reveal Mike with Dave, Vic and Ivor in full Roman regalia as Nero & The Gladiators.

The Centurions: The Monkey Farm / Yeh Yeh / Raunchy / Beatnik / Last Night

Nero & The Gladiators: Trek To Rome / Bleak House / Czardas / Tovarich / Hall Of The Mountain King / Light Cavalry / Hoots Mon / Entry Of The Gladiators / Boots

With Dave on guitar, the quartet provided a selection from the Nero & The Gladiators repertoire, before the rest of The Centurions returned to close this first part of the show with another choice batch of brass-led numbers. Most enjoyable indeed.

It is perhaps wrong to single out any one musician from all the bands that Sunday, but if the Convention had had a Man of the Match award, Dave Gibbons would have been a strong contender. Having been a stalwart of the Twang Gang with Martin and Mike, he played both splendid trumpet and guitar in the Centurions set.

A break in the proceedings allowed legs to be stretched, glasses to be refilled, CDs to be browsed and friends to be greeted. Apparently, too, the Guitar Room was still in business. Back on stage, The Falcons were ready to supply their brand of music. This provided a link to my first Convention, although only Mike Beddoes of that 1995 line-up was on stage. Andre and Gary were now responsible for drums and rhythm guitar and, in the absence of Gord Kearney, none other than Bill Bonney of The Fentones stood in on bass. Again this was a reminder of that earlier Convention, as The Fentones had been on the same bill - and with Mike Beddoes filling in on rhythm guitar. With a new CD just about to be released, it was no surprise that several tracks were featured. Equally, at a Pipeline Convention it is expected that groups acknowledge their roots so the Falcons gave us their version of Apache.

With Bill on stage, The Fentones' Mexican was also featured, but once again with The Falcons trademark sound and style. Gary was featured on lead guitar on Jokers Wild, and Andre paid homage to one of his influences in a drum feature Half Nelson. This is an instrumental group which remains aware of tradition but has a style and sound of its own, showcasing the guitar skills of Mike Beddoes. Queen Of Diamonds was popular with Pipeline readers, and Rebel Jukebox is eagerly awaited.

The Falcons

Hell's Gate / Wake Up / Apache / Rebel Jukebox / Jokers Wild / Moonlight /

Half Nelson / Highway 99 / The Mexican / Shadowland / Buccaneer / Cruel Sea

 

Another break, and I slipped back stage for a moment. What was this? A Gibson Les Paul and a Godin MIDI guitar in The Hunters line-up? With three original members plus Billy Kuy of the Outlaws on bass, a traditional sixties set was expected. The group kicked off with their own classics Teen Scene and How's M'Chicks, as well as including The Storm later. However, Brian & Co. broke away from the sounds expected of a four-piece guitar and drums formation, with Brian coaxing brass and even accordian sounds out of the Godin. Another Pipeline first would be a Thelonius Monk offering, as Brian sat at the front of the stage to play 'Round Midnight.

A brave attempt to do something different, and a contrast with both the real brass sound of the opening group and the pure guitar-based sets which preceded and followed their own show. A nice touch was the appearance of Dave Sampson to provide some extra percussion in Tequila.

The Hunters

Teen Scene / How's M'Chicks / Swinging Shepherd Blues / The Storm / Golden Earrings / Petite Fleur / Medley: Moanin' - Green Onions / 'Round Midnight / Tequila / Runaway / Teen Scene

 

Last chance to raid the stalls, but most importantly, the traditional Pipeline quiz, with Big Al as the genial inquisitor. This year there was a four-way tie for first place, so it was down to a tie breaker with Ken Irving just pipping Nick Kellie to take the winner's rosette. Well, a bundle of CDs actually. None of the four went home empty-handed in any case.

And so to the top of the bill. Although I had seen The Rapiers on a number of occasions, I had never seen them play an all-instrumental set, which they did for the first time ever on their previous Convention appearance. The Rapiers have an enviable reputation, but it is one which is completely justified. They manage to exhibit a high degree of professionalism, but at the same time display visible enthusiasm for the music. At this year's Convention their set was built around Shadows numbers, but they incorporated enough material from elsewhere to keep most Shadophobes happy. After a brace of Shads numbers, a stylish Husky Team and the pre-Shadows Driftin', the guys produced their first surprise in the form of Barney's Blues, the jazz number which was the precursor of Nivram. For the second time in the evening, homage was paid to the legacy of Jerry Lordan in Apache before we heard the A-side of the Rapiers' only 45, the gorgeous Closing Theme. Now that should have been a hit...

The mood changed with John Tuck's solo on Wipe Out, and the surf influence continued with Pipeline. This produced a classic moment when Colin sneaked in a snatch of Hall Of The Mountain King. Neil responded with the James Bond Theme, so Colin played Riders In The Sky which was followed by Walk Don't Run from Neil. Colin replied with Diamonds and so it went on! You've got to be good to do that,

Another change of pace with an instrumental reading of a Buddy Holly number which pre-dated Hank Marvin's treatment of the same piece. To watch Colin's subtle use of the Strat tremelo arm combined with 'violining' the volume knob was an education - no need for fancy foot pedals here! After a driving guitar version of the Tornados classic and a Latin flavoured Shads LP track - possibly the latest non-original instrumental the band play - it was time for the finale. Not William Tell this time, but a storming Saturday Night At The Duckpond. Even after encores of two Shadows classics, the audience were still shouting for more. Alas, the Convention witching hour had arrived and the music was over for another year.

The Rapiers: Shadoogie / Dance On / Husky Team / Driftin' / Barney's Blues / Apache / The Closing Theme / Wipeout / Pipeline / Raining In My Heart / Telstar / Bossa Roo /

Saturday Nite At The Duckpond / FBI / Gonzales

It is always difficult to sum up the Convention experience in a few words. There's live music of a high standard, played by enthusiasts. The Guitar Room proved attractive to players and non-players alike. There is an opportunity to stock up on CDs, vinyl and other goodies supplied by specialist dealers and fellow fans. You can mingle and chat to some of those who play your favourite music. As well as the featured groups, the audience included members of FBI, The Vickings, Husky & The Sandmen, The Silhouets, The Surf Rats, Counterpoint and Pipeline '61. Mo Foster, bass player and author, is a regular attender and it was particularly good to see Bruce Welch in circulation again.

Those of us who attend the Convention owe a debt to the performers, and all the backstage and front-of-house volunteers who keep the whole thing going. If you were not there, the Convention video does give a flavour of the experience. However, if you are an instro fan within travelling distance of London at Easter, there's only one place to be.....

PIPELINE 1999

THE SEVENTH ANNUAL INTERNATIONAL ROCK INSTRUMENTAL CONVENTION

Trev "Mr Instrumental" Faull reports.....
Photos by Steve Terrell

The pre-Millenium Convention was a little different this year with three groups hardly known in this country plus a nostalgic nod to the gentleman of the electric guitar, Mr. Bert Weedon. Everything started an hour earlier than usual with The Duane Eddy Convention kicking off at 11.30 am. It was their 21st event, quite an achievement and as usual the main man kept his distance - but Arthur had plenty of video clips and the Twang Gang seem to get better every time I hear them and this year was no exception.

~: HUSKY & THE SANDMEN :~
Ecstasy / Arabian Nights / Four Stroke Stomp / Suki Yaki Stomp / Malibu Run / Tube Surfer / Big Cyclone / Batcave / Hukilau Moon / Distrainer / Green Invasion/ Ridin' The Wild Surf /Flyin' Hi And Lo / Stormin' Bomboras / Firewater

They kicked off the evening and anyone who has witnessed their debut CD/10" album "Arabian Nights" from 1996 will know what to expect. This surf quartet from Finland left their keyboards at home and relied on an all guitars affair and kick off they certainly did. Their album was a 14 tracker (only 10 on the limited vinyl release) mostly of original material with occasional covers of Ventures and Link Wray lesser known tracks. Their Pipeline set followed a similar trail, their 15 tracks incorporating music from their CD plus newer material in a similar vein.

They appeared on stage neatly dressed in Hawaiian shirts and got down to business immediately. Confident, short, sharp originals are their forte and they perform such numbers well. They even dressed up the old Japanese pop hit "Suki Yaki" in a stomping style. As the set continued, three youths walked to the front of the audience and proceeded to mimic the art of dry surfin'.

Lead guitar (Teemu Liukkonen) duties were some times handled by the rhythm player (Ben Engblom) who came into his own on the exciting original "Batcave". With their Fender equipment (Jaguar, Jazzmaster & Precision bass) they had the right tools for the job too.

A slow ballad "Hukilau Moon" was the only hint of The Shadows and the group offered new material which will hopefully appear on a second album. A fast, urgent, rocker known as "Distrainer" was one of them, followed by a happy beater in the style of the Astronauts "Baja" but moodier and with more changes. "Ridin' the wild surf" incorporated all their best ingredients and as an encore they attacked my favourite Astronauts track "Firewater", closing as they began, on top form. I look forward to their second release and more of their lively organ sound that was sadly missing from this set.

~: PIPELINE '61 :~

Revenge Of The Rockers / Pipeline / The Savage / Ajoen Ajoen / Roller's Express / Black Eyes Rock / Teen Scene / Walk Don't Run / La Comparsa / Wipe Out / Man Of Mystery / The Cruel Sea / Theme For Young Lovers / Dark Town Strutters Ball / Dakota / Zambesi /Saturday Nite At The Duckpond / Telstar / Guitar Boogie

Here was a tight, professional quartet from Holland who normally do a mixed vocal/instro set but their 19 strong instro delights displayed just how versatile they were. General spokesperson was Harold (the bass player) who dished out the between-tracks information.

Impeccably dressed in glittering silver/grey suits, with two red Stratocasters plus a sunburst bass and not forgetting the winkle-picker shoes! These guys presented a superb mixture of Indo-Rock material (much favoured in Holland), a few Shadows covers plus some familiar instro hits. Guitarists Haico (lead) and Roger (rhythm) work off each other well and opened with the only original in their set "Revenge of the Rockers". This track was available on their 4 track EP being sold on the day which included another fine instro piece known as "Brainstorm".

Of course they played "Pipeline" and their three Shadows numbers were performed with ease. Drummer Harry maintained a full sound throughout whilst on "The Savage" the guitars went for the jugular with that ferocious rhythm guitar keeping perfect time.

If you are familiar with the Indo(nesian)-Rock scene, which often relies on traditional-type melodies, you will surely know the originals. "Ajoen Ajoen" was a popular hit for Willy & His Giants whilst the Tielman Brothers recorded "Black eyes rock" during the late 50s although this track is more often linked to Electric Johnny. The Pipeliners gave a good performance of this exciting track. By contrast, a beautifully winding ballad, full of rich, melodic runs known as "La Comparsa" was originally a good seller for ZZ & De Maskers, it was played with superb feeling and sensitivity.

The Jumpin' Jewels inspired "Dakota" (best known in the UK as by the Shadows but originally cut by composer Tommy Reilly) was a catchy number that somehow had all the trappings of 1963, the year it was written. The other Indo-cover, "Roller's Express", originally by The Rollers was a twitchy 12-bar with superb beat and neat phrasing. After an infectious Hunters cover the group ran through "Walk don't run" and "Wipe out", the latter giving a brief nod to the Routers' "Let's go".

You may recall Joe Brown singing a cockney song about Strutter's Balls early on in his career but here it was performed minus the lyrics and it sounded great. They also covered the old South-African hit "Zambesi" by way of the Shadows sound. For an encore they captured the authenticity of the Tornados "Telstar" without using an organ and they climaxed with "Guitar boogie" shakin' like the leaves on a tree.

Pipeline (the event) were extremely lucky to find Pipeline (the group), now all we need next is an instro CD to complete the picture.

~: THE JAGUARS :~

The Rumble / Walk Don't Run / The Munster's Theme / Goofin' Around / Subject In Orbit / Perfidia / The Rise And Fall Of Flingel Bunt / Flying Blondini / Flotte Biene / Genie With The Light Brown Lamp / The Mexican / F.B.I. / Wipe Out / Man Of Mystery

This group hail from the Kent area and once released a vinyl EP housed in an eight-inch sleeve (which resulted in the problem of where to store it!) but it included the excellent "Flying Blondini" track that they were to play live. They do have a current CD release called "Git it" with a ration of 8:1 vocals against instros. Also looked the part too in matching suits, shirts and white shoes. They normally have to perform a mainly vocal set but relished the opportunity to go all-instrumental.

Opening with the Shads well-known "The Rumble"and a heavily echoed Ventures cover they sparkled through the much-loved Munsters TV show, even Herman would have grooved to this! They turned the clock back for an affectionate homage to Bill Haley's Comets for the boogie number "Goofin' around" which is seldom performed these days. It was almost into jazz by the middle section where the bass and drum provided some tight interplay.

The Shadows were paramount in their set with the cha-cha beat of "Perfidia", a straight "Flingel Bunt" plus a very pretty "Genie with the light brown lamp". Switching to the Spotnicks to perform "Subject in Orbit" which has shades of "The savage" about the urgent rhythm.

A stab at the Fentones "The Mexican" was brave but the crowd pleaser had to be "Wipe Out", where the rhythm player took the drumstool whilst the drummer removed part of his kit and proceeded to play it flat on his back, on the ceiling and in all manner of unnatural positions! To thunderous applause they closed their excellent set with "Man of Mystery".

Mention must also be made of two of Clive's originals. A driving 12 bar, "Flying Blondini", and "Flotte Biene". Yes, the name has a special significance to Clive (though he didn't reveal it to me afterwards) and it's full of Russian vodka fumes - this very strong melody is surely worth an official release? Perhaps they may now consider more instrumentals in their regular set, did I mention the matching white Fenders? (Thought not.)

~: BERT WEEDON :~

Oh Boy! / Apache / The Blues / Rocking Guitar (medley) / Sleep Walk / Bye Bye Love /Can't Help Falling In Love / Oh, Lonesome Me / Gimme That Jive /
It Doesn't Matter Anymore / Heartbreak Hotel / This Ole House

Bert is now in his late-seventies, the gentleman of the electric guitar who provided the evening with a nostalgic trip through his many years in show-business. Between melodies (backing from the Jaguars) Bert recalled some of his famous little stories about the business. He only plays occasionally now and has a modified Stratocaster which uncannily sounds just like Bert Weedon and nothing like the general Fender Strat sound !

He opened with a cover of a Buddy Holly song (he would return to Buddy later on) and then his own arrangement of "Apache". Bert's fingering is light with spartan use of the tremolo arm but of course he is better known for playing a Guild guitar. Introducing "Guitar Boogie Shuffle" probably confused the audience totally as what Bert actually played was a medley he recorded for Polydor back in 1977 known as "Rocking Guitar". This utilises pieces of his hit "Guitar boogie shuffle" but then adds "See you later Alligator", "Shake rattle and roll" and "Rock around the clock" (plus more on the disc).

A couple of blues numbers didn't go amiss, "The Blues" was a straight 12-bar and midway I caught phrases from Gene Vincent's wonderful "Be-Bop-A-Lula"! The second blues was a fine tribute to the Graceland Gangster, Elvis, on "Heartbreak Hotel". Bert cut a cracking version in 1970 for his comeback rock'n'roll album "Rockin' at the Round House". Bert also played the flipside of his single "Gin Mill Guitar", the ballad "Can't help falling in love". Less familiar was "Gimme that jive", a traditional tune in "Sorry Robbie" mould. Surprisingly Bert recalled it only sold 12 copies upon release, but where or when did this happen? I've certainly never seen it documented.

Bert also tackled Santo & Johnny ballad Sleep Walk and when he went into a lilt for the old country hit song "Oh, lonesome me", several members of the audience could be seen singing along! The set closed with his slowed-up version of Shakin' Stevens "This ole house". Bert never took an encore so there was a sense of anti-climax after he had gone, but he should be fairly judged at a nostalgic level - I mean the guy doesn't have anything to prove anymore does he?

Looking back I believe the evening was a success and we can only hope that the Pipeline Convention can enter the Millennium with renewed vigour, carrying the torch for instro music through to another century. Now that's one heck of a thought, isn't it !

~: SATURDAY NIGHT AT THE INTERNATIONAL STUDENTS HOUSE :~

Alan Taylor reports on the pre-Convention instro night out....

No, it doesn't quite have the same ring as Saturday Night At The Duckpond does it! But for those who had travelled from afar and were staying overnight, and those of us who turned out to help them drink the night away, we sure had a ball. Apart from talking instros, we were thoroughly entertained by members of The Secrets. They lined up as Jim "Mr Guitar" Nugent on lead guitar, Ray "It was a Burns once" Liffen on rhythm, Trev "Mr Organ"(?) Faull on organ, Pete "Pogo" Walter on bass, and Dave "Hitman" Burke on skins.

They played two sets and even drew in a few of the students to marvel at their musical perspicacity. Barely pausing for a break, they were joined midway by the Scottish branch of FOAT in the form of George Geddes and Ken Irving on guitars. These two intrepid travellers nobly performed despite the third member of their planned trio chickening out and fleeing to America at the last minute. That was true "the show must go on" spirit lads. Or was it the beer? Anyway, another bold fellow was Luc Kennis of The Vickings who reminded us of the great set they performed for us last year with another quick-fingered display.

A big thank you to all those who made it such a fine start to our instrumental weekend.