Nigel Lomas – A Musical Journey

 

Nigel Lomas – A Musical Journey

by Pete Clemons

Sadly we recently lost one of the finest drummers Coventry has produced. Not only did Nigel Lomas perform on records that made the old hit parade he also had an almost photographic memory of his achievements. He had near perfect recall for detail and his descriptiveness was incredibly vivid.

By way of my little tribute I have attempted to collate emails Nigel sent me and include notes I made in order to present his musical achievements into, hopefully, a lasting legacy.

It begins when Nigel, who was born in 1942, told me how he formed the Zodiacs in 1959, with the singer Maurice Redhead. They had met at a rock n roll club in 1958 call THE Drumbeat Club on the Lockhurst Lane railway bridge Holbrooks side. The Drumbeat was a cellar club beneath a coffee bar. 'I used to get up and sing there and have an occasional go on the drums'. The only people I remember from there in the group were Mick Van de Stay who was the singer and guitarist Jim Smith. The names of the others escape me.

At this time there we a few coffee bars that had music, The Milano, at Radford, The Domino on Gosford Street being just two. During 1960 when Eddie Cochran and Gene Vincent appeared at the Gaumont Cinema the pair actually called in at the Milano after the show.

While with the Zodiacs the venues we played included; Collycroft Club Bedworth most Thursdays, Newdigate club Bedworth most Tuesdays, St Georges Hall Nuneaton most Saturdays, the Ritz cinema Longford on the odd Friday night or Sunday afternoon, the Stag and Pheasant Lockhurst Lane Sunday Lunchtimes for about one year, maybe more I cannot remember them all. Additionally brother Roger Lomas clearly remembers being sat outside the Stag and Pheasant pub, to watch and hear Nigel play.

Also during my time with the Zodiacs I also stood in with a group touring the county with the fair at Heasal Common called Prince Dave Khan and the Babes. They wanted me to join them but I turned them down.

Other groups sharing the bill during these times were: Vince Martin and The Vampires, The Atlantics, who played at the Domino coffee bar, Johnny and the Rebels, Max Holliman and the Guitarnos who were from Nuneaton.

I left the Zodiacs in 1962 and was replaced by a very good drummer called Ron Cooke. Within one week I had replaced him in his group The Freemen who, at that time, were the highest paid Coventry group due to being the resident house band at the General Wolfe Hotel and by playing four nights a week there.

The Freemen became The Goodmen during 1962. I assume this was at the instigation of Larry Page who, by now, had move to Coventry from London in order to transform The Orchid Ballroom. 'Then vocalist and good friend Johnny Goodison fronted us. I was the only drummer ever to play with The Goodmen 1962 – 1965'.

And it was during 1963 when Nigel selected his first professional drum kit. It was from a shop in Snow Hill, Birmingham, 1963. Actually it was Johnny Goodison who picked it for him. 'Thanks Larry Page. You put me and a few other Coventry musicians and vocalists on the first rung of the professional recording ladder'.

Recordings that included Nigel from this period included:

1963 The Orchids - Gonna Make Him Mine

1963 School Is In / She's a Much Better Lover Than You By Johnny B. Great & the Goodmen

1964 Acapulco 1922 / You'll Never Leave Him (Note: did Nigel actually drum on this?)

During this time I was asked by manager Larry Page to sign for Kinks, who were Ravens at the time - It seemed Nigel turned them down as he didn't think the Ravens were as good as the Goodmen.

'After Johnny Goodison left we worked as The Goodmen with Beverley Jones in 1964 on lead vocals and also some gigs with Shel Naylor (Rob Woodward) and the Goodmen'.

'By 1966/67 I was domiciled in London and got to know Scott Walker. My good friend and leader of the backing group, the late great Johnny Goodison, was by now the leader of the Quotations, the excellent backing group of the Walker Brothers, I spent good times with them on several occasions and even joined a group with Scott's very good friend John Stewart for a short period.

During his time in London Nigel was rubbing shoulders with session players such as Jimmy Page and Big Jim Sullivan. He remembered one session that definitely produced a single. But I cant help thinking that Nigel sat in on a host of other records and this information could now be lost to the sands of time.

1967 Ellis Waygood - I Like What I'm Trying To Do / Hey Lover (with Keith Degroot)

During 1968 Nigel returned to Coventry. Additionally both brother Roger and Pip Witcher had resettled in Coventry, after their Sorrows adventures, and decided to reform The Clouds. This time as a four piece with Bill (Eggy) Bates and Bill Campbell joining the pair.

In parallel to his song writing activities with Pip, Roger formed The Eggy along with bass player Bill Campbell, Bill Bates on vocals. The Eggy were indeed a proper band. The name change, because The Eggy was a similar line up as the reformed Clouds, was due to a soon to be released record that was released at Easter time. The Eggy also saw Roger reunited with brother Nigel on drums.

The Eggy would be active up until 1969 gigging when commitments allowed. Additionally, The Eggy would bear the fruits of those earlier Rog and Pip sessions as the single ‘Your Still Mine' c/w 'Hookey’ was released during 1969 on the Spark label/Southern Music.

Renegade was a one off project that began during 1973, and was the first major production work for Roger Lomas This led to him reuniting with, and working once again, with Pip Witcher on guitars and vocals. And, yet again, more songs would surface from those late 60's Rog and Pip sessions. Following on from an earlier Renegade project, this venture and the single, came Renegade the band.

After a re-shuffle of band personnel, Renegade the band settled on a line up of Roger Lomas on guitars and vocals and Pip Witcher. Mick Eastbury provided bass and, once again, brother Nigel sat in the drummer’s seat.

It was the height of the Glam Rock and Renegade were a rock band who, by way of stage clothing, made by Roger, certainly fitted the bill.

Renegade promoted the single 'A Little Rock 'n' Roll' at the Locarno in Coventry during 1974. The Locarno, at that time, had a revolving dance floor and, during the performance, drummer Nigel Lomas fell off the his drum stool but recovered in time without missing a beat. Renegade also played a gig on the Locarno roof.

1973 Renegade - Lovin' and Forgiving / Never Let Me Go

1974 Renegade - A Little Rock 'n' Roll / My Revolution

The rest of the1970s saw Nigel playing with many club bands such as The Carltons. He had also become a Sorrow during their multiple reunions and frequent lineup changes, making a document of their more recent history, from that era, particularly complex. This included a single recorded and released 1977 for the Telefunken label. 'C'mon Everybody / Let's Have a Party'. A final release, an EP titled 'Gonna Find a Cave' was released during 2014. Activity with The Sorrows continued almost up until the pandemic hit.

Finally, the following are reviews of Johnny B Great singles from music magazines of the times:

Johnny B Great and the Goodmen - School Is In : She's A Much Better Lover Than You (Decca F11740)

Some critics enjoyed it.......

There seems to be a revival on old U.S. Bonds numbers lately what with 'Not Me' by the Orions and now 'School Is In' by Johnny B Great and the Goodmen. As might be expected it's a lively number with good vocal, and raucous sax half way along. Ultra commercial with a good chance of hitdom. Lead voice that actually sounds adult for a change. Apart from the dubious title, the flip is a pretty good ballad with a good set of lyrics. It's a gentle type thing with a jaunty approach and a goodly sort of atmosphere.

Some critics not as much.....

Johnny B Great now there is a tempting name. But let's leave it alone because the disc is not great but it's not bad. 'School is in' - if you ignore the words - is just fine for dancing.
'She's A Much Better Lover Than You' isnt so successful. Tries for quietness and comes a cropper.

The second single however failed much better....

Johnny B Great – Acapulco 1922 : You'll Never Leave Him (Decca F.11804)

Great idea for Great this....a vocal version of the contagious melody Acapulco 1922. Right from the crunch opening the producers, Messers Talmy and Stone manage to pin your ears back and compel attention all the rest of the trip. Echoesy multi tracking is spliced with added girl group work and a really gutsy accompaniment directed by Charles Blackwell.
This one should beat a hurried path to the lists for all concerned.
Bert Berns is the producer and Mike Leander the MD on the second half. Hear Johnny sings 'You'll Never Leave Him' with a colorful simpler contrast to the top side and should certainly add sales. I like the almost folksy use of guitar and group voices in accompaniment.

On a personal note I received the odd verbal clip around the ear from Nigel. This would happen if I made an error when writing articles. For example I mentioned the Freemen as The Fenmen. Nigel was all over that one. But it was never taken as personal as it ended up being an education. In a strange way it became a badge of honour.

Thank you Nigel Lomas. A legacy, (and i'm sure it is far from complete) to be incredibly proud of.

 

 

Warrington-Runcorn New Town Development Plan – Just Dropped in Records

 

Warrington-Runcorn New Town Development Plan – Just Dropped in Records.

by Pete Clemons

Before I ramble on the first thing I need to comment on is how the PA and speakers at 'Just Dropped In' have clearly been upgraded this year. Certainly since my last visit. The sound quality within this cavernous record shop within the Fargo complex just off Gosford Street was extraordinarily good. I walked into this event slightly late, just as a support was on, and I immediately noticed how the audio system has been vastly improved. And this played into the hands of the main event, namely

Warrington-Runcorn New Town Development Plan, perfectly.

The Warrington-Runcorn New Town Development Plan is a musical project by artist Gordon Chapman-Fox that explores the history, idealism, and broken promises of Britain's post-World War II New Towns, particularly Warrington and Runcorn. Its purpose is to create music that "soundtracks" this era, reflecting its utopian ideals, futuristic visions, and the subsequent decline and lost opportunities, using retro-futuristic electronic music to evoke both nostalgia for a bright future that never fully arrived and to comment on modern issues like the North-South divide.

Gordon Chapman-Fox primarily uses analogue synthesizers and electronics for his Warrington-Runcorn New Town Development Plan project. He also incorporates digital tools, such as software synthesizers and orchestral sound libraries, for his ambient work.

Warrington-Runcorn New Town Development Plan, a musical project, does not have a traditional "set list" of songs for a single performance, but rather a discography of albums and tracks that are performed live. This makes each performance unique.

W-RNTDP is a musical journey lasting approximately 1 hour 20 minutes. The adventure begins within a brutal city centre, winding its way through, and touching on, every aspect of a time gone by, the good and not so, then returning to the brutal. Cities, factory life and manufacturing, housing of all kinds, factory leisure, schools, transport, growing up, even town planning come under the microscope. No dissent, no views are displayed though. Just a journey back in time using tools of today to convey it.

Pubs, clubs and the bands, discos along with the characters also come under the spotlight. It is an absolutely brilliant concept, totally compelling and quite wonderful.

I guess, in a way, the project serves as an artistic exploration and record of the New Towns movement, which aimed to alleviate housing shortages and create modern, well-planned communities after the war.. It explores the idealism vs. reality.

Gordon Chapman-Fox's music highlights the ambitious, optimistic vision of a green, healthy, and convenient life in the new towns, contrasted with the eventual run-down and dysfunctional reality that often followed.

Is it supposed to be enjoyed or are we expected to come away angry and dismayed. I have not a clue. All I know is, and it possibly comes from the fact I grew up in similar circumstances and a lot of the visuals I recognise, but I come away with a yearning for that past and grateful to be thrust back into it. If only for a short while.

Nektar

 

Nektar

by Pete Clemons

I have written several articles about Coventry born and Nektar lead guitarist Roye Albrighton but never much about his band.

Nektar are such a wonderful band to listen too. For me they had a perfect blend of qualities like musical virtuosity, genre-bending innovation, profound emotional depth, captivating stage presence, universal appeal, and timeless relevance.

I first got into them around the time that their second album, 'Tab in the Ocean', was released. They instantly became one of those bands I just bought whatever they released - nowadays I think they call it autobuy.

Looking back on their career as best I can, unlike other bands, Nektar never really seemed to get the media attention lauded on others. There is actually very little I can find in the way of album reviews, articles and interviews. That said I did find this review, in French, of 'Tab' that I let Google translate work its magic on.

'Slowly but surely, Germany seems to be waking up from a long-standing lethargy in pop production. Yet, musicians are unable, or with difficulty, to free themselves from Anglo-Saxon influences. Nektar illustrates this problem perfectly: their scores, while commendable, remain lacking a great deal of personal inspiration. Here, the style is floating, with the prolonged chords of an emphatic organ. There, it undergoes a twist, a long-matured surge, to approach a more overt and concrete expression. The tone lands in reality. It should be noted, however, that to the group's disadvantage, some unexpected modulations are a bit forced and find no justification. But the general harmony and the curve of the work do not lack beauty and melodic lyricality, if we admit above that there is a commercial synthesis from a mix and, without any ulterior motive, to hear in eye to eye with Genesis or King Crimson'

By the time Nektar's 4th album 'Remember the Future' was released, the first album recorded in their native Britain, headway had been made and America had called.. Remember the Future is one continuous piece of music which takes up both sides of the album, covering as many moods as the band achieves during its stage show. It was said that 'Few bands had impressed as much as Nektar during 1973. Few will achieve as during the coming year'.

1974 on October 8th at 4:32pm Nektar return to Britain with 8 tons of equipment after successfully completing their first American tour. On that tour they headlined at every venue they played, sold out four concerts in St Louis playing to over 12000 people. They triumphed in New York's academy of music at a special midnight concert which was broadcast live over New York's WNEW FM radio to a quarter million listeners. Additionally thousands of fans tried to get tickets for their 2 shows in Houston. Their album Remember the Future is now in the US top 50 and moving upwards every week. The British band who live in Germany and who are very much at home in the USA.

Roye Albrighton talking of those days: 'At last, we were to embark on our first tour of the States. The excitement in the camp was at an all–time high, and just before we left, we managed to spurt out yet another album that was due for release in Germany, in the form of Down To Earth. This was Nektar's "Magical Mystery Tour" album. Everybody in those days seemed to record at least one LP that seemed to have nothing at all to do with what they were really all about. Although I thought it was a good album, it really didn't hit the mark in Germany and lots of our fans over there were starting to wonder if we were starting to lose all control. Personally, I didn't find it that bad and the idea behind it was good, but you cannot argue with your public, they always know best'.

However 'Down to Earth' could possibly have had the adverse effect. Again Roye thinks back: 'Down To Earth was not for the American market, but 'Recycled' was, and I believe to this day that had they released 'Recycled' directly after RTF and not waited a year and released Earth, then Nektar might have been in a different position today'

This view is supported to a point in a review I did find for 'Down to Earth': 'Nektar's smooth move from cosmic progression, though it was more genuinely rocky than that of past practitioners of the style, to a more straight forward rock 'n' roll sound is both a surprise and a pleasure. After all, you can only take so much of bluebirds from outer space, whereas you can never get enough of the real stuff. Down to earth indeed.

Last word with Roye: 'RTF will always have a special place in my heart as the album at the pinnacle of the Nektar years'.

Chevy – St Patricks Club, Leamington Spa

Chevy – St Patricks Club, Leamington Spa

by Pete Clemons

People tend to live in the now. With that in mind it cant be easy for a band to revisit the feelings, get back to a place they were in with a retro comeback thing.

Absolutely no disrespect to the rest of the band but I think that responsibility, in the main, lies with the vocalist. It is they who have to muster up those feelings. The singer has to bring the emotion, melody and the audience connection.

And Martin Cure managed to do that in spades as Chevy celebrated their album 'The Taker' which was released 45 years ago. Martin even touched on how Chevy had loved managers and agents back then.

But before all of that we had an hour of Dirt Road Band who, nowadays, bring with them a high energy groove.

One of Dirt Road Band's first gig, as I remember, was at St Patrick's Club in Leamington Spa. The same venue as this evenings shenanigans. This, however, was back in 2017 when Dirt Road Band were prefixed by 'The'.

As The Dirt Road Band they had a more boogie-rock, blues-focused sound. They were energetic, brought a touch of rock and brought unique vocal and harmonica styles. Today, Dirt Road Band carry a high energy rhythm and pulse. From blues to high energy frenetic blues. They are as tight as too. But this was Chevy's night. And they brought a change of direction.

Chevy found themselves as part of the burgeoning New Wave Of British Heavy Metal scene in the early 1980s, known for being one of the more melodic and thoughtful bands in the movement. The band split up shortly after the album's release, they left behind a respected album and are remembered for their talent and contribution to that era.

They were fast, raw and energetic. Their sound included, melodic hooks and, possibly above all, twin-guitar harmonies that created some fantastic lead breaks. Chevy were also a band who, as support to Tygers of Pan Tang, on a 'BBC in concert' recording session reportedly blew the main event off stage during that particular transmission. Given that, the task to recreate, was immense. There was no need to worry though, they sailed through it.

It was a remarkable evening as several of the musicians played both sets demonstrating their skill and versatility. Above all it came across as an evening of musicians completely enjoying themselves and an audience totally enjoying what they were hearing.

The evening was dominated by a hard-hitting rock style, with the album showcasing hits like the title track 'The Taker', 'You Got Me Running', and the fan-favourite 'Skybird'. Ted Duggan was a monster behind the drums. Steve Walwyn and Paul Shanahan were sublime. Their twin guitar playing coming together to create a single, cohesive, tightly locked in sound. It was a joy to hear.

Credit where due to all musicians involved but I did notice a comment from Martin the following morning where he praised Horace: 'hope your having a relaxing day Horace, after last nights revels…..many thanks for all the hard work you put in to make it happen'.

Valuable Friends

 

Valuable Friends

by Pete Clemons

The trio of Phil McWalter, Janine Levinson and Rick Medlock have been writing songs and making music for several years now. A dozen of those songs have been pulled together into a CD album titled 'Valuable Friends' – a vinyl option is also available. But wow, what an ear opener this is.

Being completely truthful Rick has been dropping me the odd track every so often, via sound-cloud, but I hav'nt really given them the time they deserve. Hearing the collective group of them on CD 'Valuable Friends' could well be this years undiscovered treasure, diamond in the rough, underappreciated release.

Phil's deep dialogues, transcendental guitar flights along with Janine's vocals all anchored by Rick's fierce, inventive drumming make 'Valuable Friends' a genre-bending journey through rock, fusion, Latin American motifs, and improvisation. Lines are blurred between speed and emotion with every note. The trio plays like one mind split in three bodies.

The album opens with 'Rent a Room' that begins with a crisp riff and strong drumming. It blends funk elements with the energy of a rock band. Following on, 'Ice Pick', brings on a completely different feel. It is here where the eclectic nature of this album begins to reveal itself. Suddenly it has a more atmospheric feel to it.

The whole album follows a similar approach, using an electro-rock aesthetic. Some of the tracks border on the soulful and could even be geared for the dance floor. It also showcases the trio's dynamic range and skilful drumming. It offers simple riffs and ambient textures, while providing a catchy, rock-infused progression.

There's an undeniable energy and long overdue unleashed potential. The desire to blend diverse influences is evident leaving the listener wanting more from this talented ensemble.

The highlight of the album, for me, is when the individual virtuosity of the members is given space to breathe, yet still contributes to a unified vision. For example, the interplay between Phil and Rick on guitar and drums shines through on tracks like 'Building Castles in This Hourglass'. Rick's drumming remains consistently impressive, forming a powerful foundation for the band's improvisational flights.

The CD album winds down with 'This Time of Year'. A track on which Janine takes complete control. Janine also created the artwork for this release.

Overall 'Valuable Friends' is a technically proficient album with moments of brilliance. A fully realised and consistently engaging work. This trio's commitment to exploration and their skill at blurring genre lines really is commendable. Listeners will certainly find things to enjoy in here.

Rick on Phil: I have known Philip McWalter for around 50yrs. Not only that but we have been making music and recording together all these years. It was Phil who introduced me to Kenny Young, this lead to many a happy hour recording with Kenny as a small part of Yellow Dog and others at his studio Lazy Moon in Brailes. Happy days....

View and hear sound bites from their album here.

https://elasticstage.com/valuablefriends/releases/valuable-friends-album

Coventry Theatre – Birthday and Spring Shows

 

Coventry Theatre – Birthday and Spring Shows.

by Pete Clemons

When it opened in 1937 the Coventry theatre was one of the most modern and best equipped theatres in the country. Many improvements were made but, certainly during the 1960s, could still make the boast of being 'Britain's finest theatre'.

It opened soon after a period of difficult conditions for theatre's in general which, in many ways, form a parallel to the present time.

The advent of talking pictures during the early 1930s had much the same effect as television in the 1950s, DVD in the 1990s and downloading/streaming today. Audiences had dwindled and theatres were closing or converted to cinemas.

However the directors of Coventry theatre had the belief that live theatre could be revived and audiences would return.

It was once mentioned by theatre managing director S.H. Newsome that the birthday show had been a popular event that began in 1931 at the previous theatre. The tradition of observance then continued in the new art deco venue. The first birthday show at the Coventry theatre was in 1938 to celebrate the first anniversary of the opening of the new theatre.

So successful was that first show that it managed to continue through the war. By all accounts, during 1940 and with bombs dropping, Evelyn Laye, Nat Jackley and the Two Leslie's were on stage !!. I'm sure there is an element of vivid local story telling in there somewhere.

Given what happened to the majority of the city centre during the bombing, Coventry theatre was almost miraculously spared from destruction. It was penetrated by several incendiary bombs and at least one high explosive bomb which failed to detonate. A small price given what happened elsewhere in the city centre. As such the theatre was able to play its part in maintaining morale in the city during those difficult days as well as raising substantial funds for various war time appeals.

Since those days the birthday celebration grew from a week long variety show to a full scale production lasting six weeks for which script writers, orchestras, choreographers etc prepared for several months in advance

At its height the birthday show figures were phenomenal. It attracted upwards of 100,000 people and saw audiences buying tickets before the announcement of a cast. The Glastonbury of its day if you like.

The Spring show was announced during 1959 and first opened Easter Monday April 18 1960 by a galaxy of stars that included Shirley Bassey and Ken Dodd. The show ran for a whole season duration between several months or even months.

The Spring show had been encouraged by the phenomenal success of the Birthday show. Audience pressure demanding similar shows of such magnitude made it an easy decision to make and thus expanding the theatre's reach.

Both the Spring show and Birthday show ran till 1976. Mr Newsome had a love for the variety production and without doubt it were those shows, along with the star studded pantomimes, that made the theatre prosperous and famous. But, in hindsight and with changing times, it could possibly have been at the beginning of the theatres downfall.

Black Sabbath – The End

 

Black Sabbath – The End

by Pete Clemons

Black Sabbath's self-titled debut album, released in 1970, is today widely considered a landmark in the history of heavy metal, despite initial mixed reviews. While some critics found it conventional blues rock with a 'bad boy' sound.

And with news that Black Sabbath were to play a final epic gig at Villa Park has naturally surfaced the memories of former band members of Coventry's Indian Summer who, along with Earth/Black Sabbath were, back in 1969, both under the wing of Birmingham's music mogul, the legendary Jim Simpson.

Indian Summer keyboard player Bob Jackson recalled 'The news that Black Sabbath are playing their last gig in Birmingham today prompted some happy memories.
Got to know the guys pretty well way back in the last 60's, when I was in my first recording band, 'Indian Summer' - before their name change from 'Earth'. We were signed to the same management and record team too. But, as history will attest, Sabbath went mega whilst Indian Summer lasted only one album. That's Show -Business!! Have a brilliant show, guys. Mission very much accomplished'!!

That led drummer Paul Hooper to respond 'Yes Bob..i remember those days well..especially carrying your Hammond up the stairs at Henry's Blues House..On occasion we let them use our gear before they hit the big time. However, I think the big difference between them going mega and we falling at the first hurdle was Don Arden.

I did ask Bob for any other outstanding memories 'We played on the same bill with them many times, and as Paul H. reminded me, they even used our gear in the early Earth stage. They were all easy to get on with. I remember chatting with Ozzie several times, including once at the Marquee before the show. We went round to Ozzie's terraced house, in the early days and discussed whether Jim Simpson was the right guy for us to sign with. Based on that conversation we signed. But soon after, found that Sabbath were leaving Simpson for Don Arden. That move to heavy management certainly worked for them'.

Back to that first Black Sabbath album which has been praised for its powerful riffs, inventive basslines, and Ozzy Osbourne's unique vocals, creating a distinctive and influential sound. The album's dark themes and heavy, blues-infused rock laid the foundation for a new genre.

In fact the only quotes or reviews I can find find at the time of its release gave it short thrift. 'Aggressive doomy music from a very popular Birmingham based band who are well into black magic. Heavy going'.

Music Now said: 'we strongly advise those of a nervous disposition NOT, repeat NOT to listen alone.

Due to the fact that Black Sabbath had jumped straight into the charts at number 23, it was only a matter of weeks that the largely ignored record was soon attracting the attention of the more well known music papers of the day.

One noted: Black Sabbath, four unknown rock musicians from Birmingham have emerged from obscurity with what is probably the first true underground success since the days of Pink Floyd and the UFO.

Without mass media exposure the Birmingham band now find themselves with a best selling first album, sold on the strength of their hard rock sound which has built them a fanatical following in isolated areas.

As Black Sabbath the group have worked steadily in Britain and on the continent building up an increased following wherever they appear. At Birmingham's Henry's Blues House recently they broke Jethro Tull's attendance record which had lasted for over a year.

It's in Birmingham that the group are the biggest draw. Their reputation has spread from there through their live appearances and a solitary Top Gear session they did before Christmas 69 and the release of their Vertigo album which is still making progress in the chart.

The album is an accurate reflection of their music, hard, driving and blues based with lyrics that have been influenced by black magic, a subject they have become interested in since changing their name from Earth.

Just a few months later during 1970 and Black Sabbath had released their next album, Paranoid, where further chart success was gained. From then on the band were almost unstoppable.