When Warwick Uni Folk Club and Earlsdon Folk Club at odds

 

When Warwick Uni Folk Club and Earlsdon Folk Club at odds.

by Pete Clemons

It is December 1965 and an issue blew up between Warwick University Folk Club and the recently formed Earlsdon Folk Club at the City Arms:

The secretary of Warwick Uni FC reported ' I believe that the Folk Club which has been started at Earlsdon on Sunday Evenings, and organised by Paddy Roberts, has been deliberately planned to clash with our own folk club at the same time. The motive behind this appears to be that the man running the new club wishes to make some money at our expense for he wants us to amalgamate with him taking the responsibility for the the club and for paying him £10 weekly. I have my reasons for making what must seem to many as rather rash accusations and only space prevents me giving my reasons here. Personally I shall refuse to have anything to do with an amalgamation and I only hope that you will support our own club so that we may force out of this particular field a man whose one interest is making money'.


The secretary continued:

'Everyone, absolutely everybody, should come to this week's folk club: the best meeting of the term as it should well turn out to be. Anyone known to be visiting a rival folk club will be publicly and ceremoniously linched afterwards. Don't forget then the university of warwick folk club'.

During January 1966 things seemed to have settled down again as the university listed artists who would be appearing in the future: Sunday Jan. 14th Anne Briggs Sunday Jan. 23rd The Couriers Sunday Jan. 30th Barry Skinner Friday Feb. 4th Janet Kerr and John Cowling Sunday Feb. 18th Malcolm Price Sunday Feb. 27th Pete Stanley and Wizz Jones Sunday March 6th Sandy and Jeanie

By February 1966 Warwick Uni FC had gone from strength to strength as, it has to be said, Earlsdon FC. A missal from the secretary read: 'The folk club claims to be the most thriving society in the university: this is justified by the fact that it has over 200 members and meets every week. In spite of early criticism the table tennis room has proved to be an excellent home for the club. Singers have enjoyed performing before a most receptive audience and have highly praised the friendly atmosphere. Past singers have included Bill Clifton, Mark Newman, Richard Lawrence and Judy Sutton, Diz Disley, Anne Briggs and Malcolm Price; this term Pete Stanely and Wizz Jones (Feb 27th), Sandy and Jeanie (March 6th) and Bert Jansch (March 13th) will be appearing. Resident singers include Dave Robinson, Carole Spackman and John Hobbs who sings regularly. The Warwick Week at the end of the year will include a folk concert on Wednesday, June 22nd. We hope the guests will include Davy Graham, Bert Jansch, Martin Carthy and the Young Tradition. If you haven't yet been to the folk club, you still have a term and a half to exonerate yourselves'.

Blackwaterside Anne Briggs & Bert Jansch

Brian 'Liquorice' Locking – from Wildcat to Shadow

 

Brian 'Liquorice' Locking – from Wildcat to Shadow.

by Pete Clemons

Marty Wilde's backing group, the Wildcats, was formed in late 1957, shortly after Marty Wilde signed to Philips Records and began his career as a leading British rock and roll singer.

The Wildcats were made up of 'Big' Jim Sullivan on lead guitar and whose roots began in skiffle. Rhythm guitar was Tony Belcher who began life as a quantity surveyor. Drummer was Brian Bennett a former outstanding art student. Finally, on bass was Bedworth born Brian 'Liquorice' Locking who began as a trumpeter with the Salvation Army. Work wise Brian was a fireman on British Railways.

The Wildcats and accompanied Marty Wilde on stage, television and records for two years. And it was while with Marty that they learned a great deal about show business including the studio aspect.

By early 1960, Marty Wilde sought to move into other areas of music and performance, which necessitated a change in his backing setup. His move was a natural progression in his career, driven by changing musical trends, and his desire to move beyond the limited 'teen idol' market.
As such the original Wildcats became surplus to requirements. And late 1960 The Wildcats became known as The Krew Kats (sometimes spelled Krewkats) in 1961 because they were refused permission to keep using the name 'Wildcats'.

Incidentally, while still known as The Wildcats they backed Gene Vincent during that ill fated tour with Eddie Cochran in 1960.

As a band in their own right The Krew Kats recorded several of their own tunes such as 'Trambone' and 'Peak Hour'. These tunes demonstrated what a first rate musical understanding the band had gained during their several years together.

During 1959 Bob (Colin Day) and John (Brian Alford), who were unrelated, were auditioning for Emile Ford (of Checkmates fame) at the Putney Ballroom. That led them to sing in various coffee bars and dances throughout the year.

During September 1960 at the Boys and Girls exhibition - held at London Olympia and judged by Cliff Richard - the pair, and now known as The Allison Brothers, won a Disc magazine talent competition. That win led to some TV appearances but what became later essential was that the prize also included an audition with Fontana Records. The importance of that session could not be understated as, during January 1961, the pair recorded a composition they had written titled 'Are You Sure'. January was also the month that saw the Allisons begin working with The Krew Kats.

'Are You Sure' was entered into the British heat of the Eurovision Song Contest which it won. From there, it was off to Cannes for the finals on 18 March 1961 where they finished as runners up to Jean-Claude Pascal of Luxembourg. At the same time, back in the UK, 'Are You Sure' was winning a silver disc for sales.

The success at Eurovision 61 sparked a huge reaction. Literally the day after the song contest agents, publishers, bookers and press folk kept all lines busy with inquiries about the duo an extensive tour followed. Backing The Allisons on those dates were The Krew Kats.

The Krew Kats were in demand and well respected. Further evolution in the band saw Brian Bennett joining The Shadows as drummer in October 1961, replacing Tony Meehan. Brian "Licorice" Locking followed as he joined The Shadows as the bassist in April 1962, replacing Jet Harris.

A second version of The Krew Kats, featuring future Moody Blues members Ray Thomas and Mike Pinder. In late 1962, the band became the backing group for French singer Dick Rivers. During 1963 The Krew Kats toured Germany before disbanding after a difficult winter tour.

Marty Wilde and Wild Cats

The Neon Story with Coventry Connections Continued

The Neon Story with Coventry Connections Continued..

by Pete Clemons

It cannot be understated how Coventry was central to the short-lived but now legendary RCA Neon progressive rock label (1971), primarily through the Coventry based band Indian Summer but also through Dando Shaft. Both were key signings for the label, with Indian Summer's self-titled album being one of the first and most notable releases on the label. Another local band, Fresh Maggots, were also in the mix.

While RCA Neon featured other acts like Spring and Tonton Macoute, Indian Summer's, with their Coventry roots, helped define the label's sound and is now considered a cornerstone of the Neon catalogue.

Coventry formed but also London based folk-rock band Dando Shaft were also a pivotal artist for RCA's progressive offshoot Neon, releasing their self-titled album on the label in 1971. While highly regarded by critics for their mix of folk, jazz, and psych, they were part of a roster that struggled commercially before moving to the main RCA label.


Dando Shaft June 1971 summary and interview:

Dando Shaft signed to Neon during 1971, releasing their eponymous second album Dando Shaft. A separate article titled 'Dando Shaft 1971' is an interview with some of the band when they lived in Ealing and undertaken right at the point of Polly joining and the second album on the way. Below is an interview with the band during that period between the first two albums..........

Dando Shaft make it quite clear that they want to incorporate as many instruments as possible into their exclusively acoustic repertoire. And since recording their first album for Youngblood just over a year ago, the Coventry group have expanded not only their instrumental scope but also their personnel, so that with the arrival of singer Polly Bolton, and a new album on the Neon label, Dando Shaft finally look set for the success that has long been predicted for them.

Having been invited to witness the band performing live in concert I can only add expletives to the album, the brilliance of which largely speaks for itself. With six members and many instruments from which to choose it is a difficult task indeed for a band to attain the kind of equipoise which Dando Shaft have. And at the same time they have remained true to their folk roots and often dwell upon traditional airs in which to set their contemporary songs. Thus they are always experimenting with different time structures (while retaining positive melodic structures) and Martin Jenkins, Dave Cooper and Kevin Dempsey have written some poignant songs such as 'Railway', 'Waves Upon the Ether' and 'Whispering Ned' which are masterpieces in lyrical and melodic construction.

Lead musician Martin Jenkins (fiddle, flute, mandolin, cello, mandola) explained this week that the groups activities had been restricted to a certain extent by the fact that Polly has been studying at university; but her final examinations and departure are now imminent and the group will then get down to some serious rehearsals. 'We've not been able to practice enough with Polly yet. And she also plays piano which we'd like to introduce' Martin added.

'There's hundreds of acoustic instruments that I'm sure we can play and we just want to keep expanding along these lines. Acoustic music is really our scene and I think we'd like to carry on like that for quite a while because there are so many acoustic outlets to explore'.

Certainly their folk apprenticeship has served them well for not only has it given them confidence in an informal environment where they are at conversation level with the audience but it has also expedited a high standard of musicianship and rapport, particularly on the part of Martin and guitarist Kev Dempsey whose contrapuntal duets are a joy.

'If you play electric instruments' went on Martin, 'you can synthesise practically every sound you want to, but with acoustic instruments you've really got to play accurately. And its marvellous musical training anyway'.

I questioned the danger of being overburdened with too many instruments and the trap that so many groups fall into of producing a cluttered sound. But Dave Cooper pointed out that all the band live in the same house in Ealing, and that 'its not so much a matter of what happens on stage as what happens at home'. And indeed the arrangements of their songs and their stage presentation is impeccable.

'I sometimes change the style of an instrument' cut in Martin. 'And that gives you something new to work with which no-one else is doing - and you can develop that infinitely.

Only percussionist Ted Kay, who plays tablas and congas, has not had some kind of a folk background, although various members have been involved with rock bands. And now Dando Shaft are finding the venues divided between folk clubs such as "Cousins, the Highcliffe at Sheffield and other broad minded contemporary clubs and the colleges where they appear to go down equally well.

'Folk clubs are a marvellous way to start for they help you to get involved with audiences. For instance although we arrange our programme beforehand there's still a lot of tuning to do between numbers which means you have to keep a rap going. Also I think that audiences will listen harder if you tell them a bit about the original song' said Martin.

Dando Shaft are evidently one of those empiric little outfits who will always be experimenting and expanding. And their latest project is explained by Dave Cooper: 'We got freaked out by some Bulgarian music recently which we are trying to learn now. It's a suite consisting of three folk tunes but they play such weird instruments that you really need an orchestra - there's some really weird syncopation'.

Martin commented on the group's adept sound balancing and the fact they could always achieve sufficient volume without distorting, regardless of venue or the company in which they are playing. 'We've just got a new PA and new instruments and everything is miked through one system while we've now got monitors on stage and can hear exactly what everyone else is doing. Its good because we are enjoying more than ever now.

Commercial release and appeal:

It appears that Neon Records wanted a commercial single to increase the band's, and their own, commercial success. Indian Summer was asked to record a version of Free’s "Ride a Pony" by their Neon label, as a strategic move to help break the band into the mainstream. The label hoped to leverage the popularity of the song to build momentum for the band. However, Indian Summer was not enthusiastic about the project, as they preferred to record their own material.

Not getting that commercial success was possibly a factor as to why the label was short lived.


Fresh Maggots: https://www.youtube.com/channel/UCeRM94TvR_cmsVONB9oAiJQ

The self-titled album by the folk-rock duo Fresh Maggots was released on the standard RCA Victor label (catalogue number SF 8205) in October 1971, not the specialized RCA Neon progressive label. But it seems as though it should have been on Neon.

I asked Mick Burgoyne if the Fresh Maggots album was destined for Neon 'Yes it was' he responded, 'we weren’t involved in the decision it was RCA’s choice. We were told that it was to be released on the launch of Neon and they informed us of the other bands on the launch but changed their mind'.

Interestingly Mick also mentioned 'Thinking back I believe we were told that our music didn’t fit in with the other bands on the release'. I found that to be odd given Neon's eclectic nature.

In October 1971, Sounds magazine published a positive review of the self-titled debut album by the Warwickshire acid-folk duo Fresh Maggots, describing it as a unique blend of melodic folk and "screaming fuzzed electric guitar".

The review was part of a wave of critical praise the duo received upon the album's release that autumn, though the record ultimately failed to achieve commercial success at the time due to a lack of promotion from their label, RCA.

Fresh Maggots 1st Album 1971 (Tracks in the side bar on youTube.)

Fresh Maggots 2nd Album  - Waiting for Summer

And Indian Summer on RCA Neon

March 1971 - The Birth of the RCA Neon Progressive Label

March 1971 - The Birth of the RCA Neon Progressive Label

by Pete Clemons

Neon was RCA's move into contemporary music. The first three albums of the then new series were released during March and were from Brotherhood of Breath, Fair Weather and Indian Summer. In a special survey SOUNDS magazine looked at the three groups, reviewed the first albums and talked to Olav Wyper, RCA's commercial manager, who was responsible for that new series. The label was launched at a special concert held at Imperial College, London in front of a student audience, the market that Neon had hoped to hit.

Man behind new label:

Olav Wyper is RCA's commercial manager and the man responsible for the launch of Neon, RCA's move into contemporary music.

He joined RCA from Philips where he masterminded the birth of Vertigo. Prior to that he was marketing manager for CBS for three years after working as a journalist, a copy writer and as advertising manager for EMI.

He likes the majority of contemporary pop music, enjoys Miles Davis 'enormously' and names Stan Tracey's 'Under Milk Wood' suite as his favourite piece of music. His favourite composer is Brahms.

New name in contemporary audio arts:

The first three releases on Neon - the name comes from the Greek word Neos which means new - are diverse in character.

There's Brotherhood of Breath, the band led by Chris McGregor: Fair Weather fronted by Andy Fairweather Low: and Indian Summer, a new band from Coventry. The music of each of the three groups is vastly different but that's very much Neon's policy.

Olav Wyper first saw Indian Summer on a trip up to the Midlands to check out the music that was coming out of the Birmingham and Coventry areas.

We went up there because we had heard that there were some very good groups playing in the clubs in the Midlands. There were two bands that we saw, Indian Summer was the supporting act, and Black Sabbath.

Indian Summer didn't really have it together musically at that time, the original band that we saw then, wasn't the band that's together now, but after I left Philips and came here in November we saw them again after Jim Simpson, their manager, contacted us here and we signed them there and then.

Indian Summer summary:

There's been something of a resurgence of late in the number of rock bands coming out of the provinces after establishing large followings in their home town. Black Sabbath came out of Birmingham with enough impact to hit nationally and now Indian Summer are looking for the same kind of success having broken out of their native Coventry.

The group has been together for nearly two years and its members came from different groups working in and around the Coventry area. Their aim, they say, is 'to achieve the meaning of Indian Summer - to give something fresh, warm and exciting when no-one expects it'.

Focal point of the group is organist and vocalist Bob Jackson whose voice at times verges on a scream reminiscent of Arthur Brown in the Crazy World days.

Colin Williams plays guitar, Paul Hooper is the drummer and Martin Harker plays bass and joins with Paul in a drum duet they include in their stage set.

Indian Summer album review: 'Indian Summer' (NEON NE2)

First impression is that Indian Summer sounded more than a little like Jethro Tull in their 'Witches Promise' days but this isn't a bad indication and they set up a tight, insistent beat throughout. Bob Jackson (keyboard, lead vocal) Colin Williams (guitar, vocal), Paul Hooper (drums, vocal) and Malcolm Harker (bass, vocal) make up the band and were responsible for all the compositions.

While there isn't a great deal of flexibility - more numbers sound too much alike - they are better on the faster items with dashing organ backing up good vocals.

'Emotions of Men', 'Black Sunshine' and 'Secrets Reflected' are good tracks, but 'Another Tree Will Grow' is the best number with the band breaking free a little more. There are some interesting guitar passages from Williams.




Neon NE 01: Beginning From An End, Fair Weather, 1971

Neon NE 02: Chris McGregor's Brotherhood Of Breath, Chris McGregor's Brotherhood Of Breath, 1971

Neon NE 03: Indian Summer, Indian Summer, 1971

Neon NE 04: Tonton Macoute, Tonton Macoute, 1971

Neon NE 05: Dando Shaft, Dando Shaft, 1971

Neon NE 06: Spring, Spring, 1971

Neon NE 07: Shape Of The Rain (Riley, Riley, Wood And Waggett), 1971

Neon NE 08: Time IS ..., Raw Material, 1971

Neon NE 09: Septober Energy, Centipede, 1971

Neon NE 10: Metropolis, Mike Westbrook, 1971

Neon NE 11: The Running Man, The Running Man, 1971

............................

Indian Summer's Progressive Album on RCA Neon Label 1971 featuring Bob Jackson on vocals and keyboards - later of Pete Brown and Piblokto, Ross, Ra Ra, The Dodgers The Fortunes, Badfinger.

Malc Harker bass - based in Coventry at the time but later head of his father's firm Harkers in Stockton on Tees.

Colin Williamson and Paul Hooper - The Dodgers The Fortunes, Badfinger. and Paul Hooper more recently played drums for Prelude.

And Dando Shaft on RCA Neon

And Fresh Maggots originally ear marked for RCA Neon but actually on RCA Victor

Pink Floyd – Lanchester Arts Festival 1972

 

Pink Floyd – Lanchester Arts Festival 1972

by Pete Clemons

The listening public were on the verge of seeing and hearing the release of one of the greatest albums of all times. One, on a scale that continues to touch people today. Here is an interview with the band prior to them performing in Coventry at the Lanchester Arts Festival of 1972.........

The Pink Floyd's current repertoire, which they'll be performing at Lanchester, includes just one old number in the whole two hours which, as Roger Waters says, is quite a breakthrough for them.

They have plenty of oldies to choose from - but they'll probably be ending their set with either 'Set the Controls for the Heart of the Sun' or 'Careful With That Axe Eugene' - the two pieces from their old repertoire that they most enjoy playing still.

As he said when he was spoken to during December, when the group were rehearsing and getting material together for the tour: 'The old stuff is being phased out, but there are still a couple of them that are still fun to play - the two that spring to mind are 'Set the Controls for the Heart of the Sun' and 'Careful With That Axe Eugene'. But the first half hopefully won't be a great kind of epic.....you know 'Atom Heart Mother' and 'Echoes' are both kind of odyssies. Epic sound poems I think we are coming down to earth a bit. I hope we are - getting a little less involved with flights of fancy.

Last week after the start of their tour Roger was asked how things had gone. 'At the first gig we had a terrible technical disaster during the first half of the set, which is 50 minutes long and is one whole new piece, and we couldn't finish it. The tape we were using just wouldn't play on to the end; but I think that's been sorted out now'.

The new piece seems to have worked out as he had hoped, in coming down to earth a bit. Its about the pressures that come to bear on people working inside the rock and roll business - dealing with things like travelling, and the wearing effects that has on you, and in more general terms, with the passing and the wasting of it, money and authority - the church and violence.

'It is' he says, 'more theatrical than anything we've ever done before, more into the whole theatre/circus thing. And in concept it's more literal, not as abstract as the things we've done before. It's more mental - we've gone mental'.

There're using a lot of specially made tapes with this first half of the set, and of course the quadrophenia sound system, as long as the hall they play is suitable for it. It's hardly surprising that technical disasters happen, but even when they do, the people seem to relate to what the music is saying. Roger had heard a report from one guy who'd seen the concert in Brighton, and apparently he hadn't really realised they hadn't been able to finish the piece, and he'd been moved and frightened by it.

The second half of the set includes 'Echoes' and I think 'One of These Days' plus the oldie.

And finally, another point of interest will be to see how they've coped with controlling their volume. When Roger spoke in a December interview he said 'The whole thing is getting completely insane , and that's another thing we've done. I'm happy to say, we've got quieter'. It'll be interesting to see if the Floyd can be effective without being ear-shattering, because if they can do it, other bands might just follow their lead.

Moon - Marquee March 1976

 

Moon - Marquee March 1976.

by Pete Clemons

Yes!! This is going to be a good night ! prophesied Moon's lead warbler Noel McCalla to a packed Marquee early on in the proceedings. And sure enough, brothas n sistas, he did not tell a lie. In fact, from the moment they nosedived into the first number, Van Morrison's 'Moondance' (subtle eh), you rested easy that the set would be stylish, assured and ultra-tight.

Since their emergence on the London pub/club circuit two years ago, Moon have proved themselves to be ascendant over most of their beer-drinking musical buddies. They are very much a part of the sixties soul and R&B tradition but have spiced this up with a sizeable helping from the jazz world. Little wonder then that they should have chosen to open with that R&B jazz influenced Belfast cowboy.

The technical skill of this six man unit borders on the impeccable. The rhythm section, consisting of Graham Collyer (rhythm guitar), Ron Lawrence (bass) and Luigi Silvani (drums), provides a bedrock steady enough to prevent the leaning tower of Pisa from sinking any further.

The only criticism here is levelled at the drums. It would make for more variety if Luigi diluted his rigidly precise approach at times in favour of a more loose, suggestive style. Dougie Bainbridge (congas, flute and alto sax) together with the remarkable Nicky Payn (tenor sax and flute), whose dexterity equals and even surpasses that of Kokomo's revered Mel Collins, help join up and colour the dots laid down by the previously set of gentlemen.

In spite of a tendency to be jarringly frenetic, Loz Netto (lead guitar), is a fine soul exponent. Last but no means least, Noel McCalla sings with a range, control and sensitivity that has not been heard in British haunts for, dare I say, many moons.

After the good news, the less good. Though their crisp, meticulous arrangements speak of long dedicated rehearsals, they end up sounding too close to one another for comfort. More flexibility, more light and shade would probably have swung the Marquee audience sooner than actually happened (ie. In the last couple of numbers when ignition was finally made and we had lift-off).

As it was the arrangements were so smooth that it was difficult to maintain a foothold without sliding off. A pity, since their own compositions, which take up most of their act ('its getting better' is especially recommended) are strong. Also a more positive stage presence would not go amiss.

In particular Noel McCalla, a constant focal point, seems unsure whether or not to take the plunge and enlist in the Joe Cocker school of manic handshakes.

Still, a powerful, sinewy band more than worth checking out. Now with a CBS contract tucked up their instruments, keep your fingers crossed that they manage the transition to vinyl successfully - it can often be a dicey business.

Lone Ranger - Moon

Leamington Blues Mafia – Temperance Bar, Leamington Spa

 

Leamington Blues Mafia – Temperance Bar, Leamington Spa.

by Pete Clemons

The Leamington Blues Mafia are a group of musicians based in and around Leamington Spa. The band features seasoned artists, including Nick Rowbotham (vocals/harmonica), Steve Walwyn (guitar/vocals), Horace Panter (bass), and Andy Bentley (drums). And this high quality line up are known for playing classic tunes from the rich heritage of blues.

It appears that the 'Blues Mafia' name came about when another of Leamington's renowned blues outfits, The Mosquitoes, were gigging. Horace would playfully refer to them as the 'Leamington Blues Mafia' being out and about again. And so this name was a great fit when this combo came together.

Collectively, at a recent gig at Temperance Bar the 'Blues Mafia' created an ardent and enthusiastic atmosphere that grew throughout the evening. It was significant that a brief but meaningful introduction about the music and the musicians who created it was pivotal. Additionally the band didn't feel limited to just one area of the blues. This was as much a celebration, as much as paying homage to, a genre that has given them so much enjoyment.

There was not a hard n fast set list, it was more a 'what shall we do next?' kind of approach. All very laid back in between numbers but absolutely attention grabbing and deadly serious while performing. Just the key was required and off they set, into that much loved place.

Hound Dog opened the proceedings. That was followed by tunes such as I'd Rather Go Blind, Roadrunner and Walking Blues. A rousing version of Gloria wound the evening down. The set finally closing with a glorious take of Bullfrog Blues. Another song, Canned Heat's 'World in a Jug' was introduced by Steve. He remembered how, during his time with Dr Feelgood and sharing the stage with Canned Heat, he was invited by Heat's guitarist, Henry Vestine, to join them on Fried Hockey Boogie. Im not sure about other folk but that was a real wow moment for me.

A combination of virtuosity, bottleneck and epic solo's were prevalent throughout throughout as Steve painting on top of a Bentley/Panter canvas using a range of styles and colours. The magnetic pole however is Nick on vocals and harmonica.

When a musician with the pedigree of Horace Panter is seen smiling broadly, purring with delight and ending with him doffing his cap by way of a round of applause for the band, as happened after a wonderful rendition of 'People Get Ready' kind of proves the band are on a roll.

Those who attended, combined with this wonderfully tight venue, just made for a memorable evening. All were there for, and clearly appreciated, the music. It all felt like a match made in heaven.

Described as a side project alongside current activities suggests that Leamington Blues Mafia gigs will be few and far between. This particular gig was the day after Martin Cure's funeral. I couldn't help hear his name mentioned several times before the gig and during the interval – not that I was earwigging, it was more because of the enclosed nature of the venue. But it was clear Martin will never be forgotten. As such, events like these have taken on added poignancy and feel just that little bit more special.

   

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