ANOTHER ASTERICK-AWFUL DANCE! . . . The Yardbirds and Led Zeppelin – University of Kent 1967 and 1971

I’ve eaten a good many meals in Rutherford Dining Hall, the idea of Led Zeppelin playing there, as rumour had it, seemed as fanciful as them playing the even smaller venue Bridge Place Country Club (now a restaurant) in a village near to Canterbury. I’ve been there once and I can’t figure out where they would have played – all the rooms seem entirely inadequate for a rock band. . .

The Who had played Eliot Dining Hall the year before, which is the same size as Rutherford, holds approximately 600 bodies, but then, as it turned out, the event took place in the Sports Hall and not where I bought chips and beans.

The gig was part of Zeppelin’s ‘Back to the Clubs’ tour and their sixth UK jaunt, the idea was to reconnect with their audience. . . . which Robert Plant, at least for this reviewer, singularly failed to do . . .

Back when they played in Bridge in December 1968, Zeppelin were billed locally as ‘The Yardbirds’, possibly the last time they were promoted as such in Britain.

Before the three original Yardbirds up and quit on him in the Spring of 1968, Jimmy Page had played alongside Keith Relf, Jim McCarty and Chris Dreja for the University’s Summer Ball, 1967 . . . Their performance was slammed in the student paper InCant.

No Ball!

NOT AGAIN! YES, AGAIN I’M AFRAID – ANOTHER ASTERICK-AWFUL DANCE!

The really significant word in the above statement/exclamation is ‘Dance’. Friday the 2nd of June was to be the University of Kent at Canterbury Summer Ball. What we actually got was a rather upper-second-rate hop.

What price non-culmination? About £200 in the red! Much of this debt probably due to the £300-odd paid for 50-minutes’ ‘worth’ of un-danceable Yardbirds.

To cap it all, the buffet served day-old lemon mousse . . . . the horror

In defence of The Yardbirds, there were complaints about nearly every band subsequently booked for freshers week or the end of year ball. You couldn’t dance to any of them and they were always too loud and money was inevitably lost . . . Of all the bands who played the University in the 1960s and first half of the 1970s – Manfred Mann, Kinks, The Move, Procol Harum, Ten Years After, The Who – only Fairport Convention, twice, turned a profit. University gigs were subsidised and always ran at a loss, but lemon mousse, at least, was never again on the menu . . .

The Who Left The Campus Stunned – University of Kent (May 16, 1970)

“Darling, they’re playing our song . . .”

A week before the release of Live At Leeds, The Who played Eliot College Dining Room, University of Kent, on Saturday May 16, 1970. Capacity around 600. It would be the last University pick-up gig they would play before the big American money rolled in and made such intimate appearances redundant.

Published lists give the date of this gig as Friday May 8 but that show appears to have been cancelled and rescheduled for the 16th.

“THE two hour performance given by The Who on Saturday night must rate as one of the most memorable events ever to take place at U.K.C. The total effect of the volume of sound, musical violence and the sheer brilliance of The Who, seemed to leave the campus stunned and drained of energy for days afterwards.”

The reviewer was genuinely beside himself and the occasion deemed significant enough for the student paper, InCant, to devote a whole page to the review. The uncredited photographs are the best that the paper ran of any of the many live events at the University.

Two attendees of the show took a little pause and moved past immediate impressions to give voice to what would become The Who’s defining characteristic post-Tommy, nostalgia

InCant (June 17, 1970)

“the whole evening was pervaded with an air of unreality, an air which surely is present at a Judy Garland comeback or an Alamein reunion, where the audience sit on the edge of their seats waiting for ‘Somewhere Over the Rainbow ‘or ‘The White Cliffs of Dover’.”

But if the sense that The Who were trapped by their own history and the demands of their audience, a bigger concern was with rock’s solipsistic turn:

“The mistake so many progressive groups make is to ‘intellectualise’ their music, to make it intricate for intricate’s sake”.

Ann Le Sauvage and David Rooney’s final point in their letter perfectly encapsulated the state of play:

"The Who seemed an image from the past simply because they played to and for their audience and not for themselves; the fact that this is a point at all, illustrates completely our disillusionment with today's popular music”.

Third generation rock and roll could not come soon enough. . . but meanwhile you could play pinball

“Playing pinball is a challenge to modern society. It is man versus machines. You try and beat the machine”.

“Playing the machine is a good analogy with life. You lose most of the time, but you do get occasional replays”.

“I think you find mainly scientists using the machines – they are more neurotic and that’s why they play”.

InCant (March 18, 1970)

Its Inmates Absurd: The Velvet Underground at the University of Kent 1971

“After about the first two years we got talking. . .”

– Maureen Tucker on rehearsing with the Velvet Underground

As a live proposition, The Velvet Underground, sans Lou Reed, existed for an improbable 2 ½ years, which included two tours of Europe in 1971 and 1972. In England, Autumn 1971, most of their gigs were on the burgeoning university and college circuit. On November 4, they made an appearance at the University of Kent. The big recent attractions on campus had been The Who, Eliot Dining Hall, May 1970 and in March 1971, in the Sports Hall, Led Zeppelin. More generally, student entertainment was provided by middle-ranking progressive rock bands – Mick Abrahams, Colosseum, Blodwyn Pig and local heroes Caravan. Kent alumni Spirogyra were an ever present feature. In all likelihood, the bookers thought the Velvet Underground would fit right into this scene. For their drummer, Maureen Tucker, the VU were always the exception to such trends.

The Velvets performed in the Rutherford Dining Hall to a positive response, if the reviewer for the student paper InCant was any indicator. He or she considered them to be a ‘genuine rock and roll band in the American sense, as opposed to the likes of Deep Purple, Black Sabbath’. The reviewer delighted in their choice of covers ­ – Dixie Cups’ ‘Chapel of Love’ and standards ‘Turn On Your Love Light’ and ‘Spare Change’. Lou Reed songs ‘Sweet Nuthin’, ‘Sister Ray’, ‘After Hours’ and, the ‘beautifully corny’ (!?!), ‘White Light/White Heat’ were highlights, with the latter described as ‘funky’ by Doug Yule. InCant’s critic agreed.

The interview with the only original member of the band, Maureen Tucker, is a peach. Asked about the shifts in the line-up, she said:

It’s been such a gradual change that to me anyway there’s been no apparent effect. After about the first two years we got talking . . . it was a mutual agreement that we were kind of getting sick of going on stage playing 30 minute songs. It’s just not original after a while, so Lou (Reed) started writing more four minute songs, rock and roll songs. Now it’s even more regular rock and roll than it ever was.

What happened to Nico? She wanted to go off on her own and be a big star

Like most of the events held by the Student’s Union, The Velvet Underground gig lost money; the organisers putting lack of interest, it was suggested, down to the fact the band’s line-up had changed. On that basis they had tried to cancel but were unable to break the contract. Steeleye Span proved to be a bigger draw.

Back in April 1971, student Helen Chastel had provided InCant with a review of Loaded, soon to be released in the UK. It is one the best summaries of the VU I’ve read.

Proposition: for consistent and versatile genius in rock the Velvet Underground (or V.U.s to the cognoscenti) are equalled only to Dylan and the Stones. Don't ask questions if you dispute it, write your own review. If you deny it, you are a Quintessence or Andy Williams fan and not worth bothering with.

Helen clearly didn’t think they belonged with the progressive mediocrities. She was a total fan, she’d bought her copy of Loaded in Washington last Christmas while on an exchange to the States and she knew someone who knew Lou Reed – ‘virtuoso extraordinaire, ex-child prodigy, now repudiator of drugs and hippies, mythical recluse . . . Sainthood is all in the mind.’

How many recognise themselves in the line ‘The deep sleep of a suburban upbringing can be shattered by sudden exposure to such a group’? Faced with VU & Nico, Helen ‘saw darkness of which I knew nothing, saw an extreme weariness, people born to die. Eliot (her college at Kent) life became petty, its inmates absurd.’ Reed, she wrote, had a ‘clear and cliché-less view of modern city life’, White Light/White Heat extended even further ‘into a chaos of light, blood, heat and noise . . . The third album is a surfacing, a return to verbal precision’. . . Lou Reed, Saint of the City. Helen Chastel, Saint of VU fans. . .

On that same tour of British Universities, the VU entertained Warwick University’s student cohort. Genesis P-Orridge’s COMUS providing support (they also played at Kent in May 1972). Ad and review from the Warwick Boar student paper

‘The Velvet Underground from whom great things were expected . . .’ Like at Kent, attendance fell below expectations.