Beverley Martyn

 

Beverley Martyn

by Pete Clemons

Beverley Martyn

We can say with some surity that Beverley Martyn's life has been extensively covered in many places but here I am hoping to cover her more recent activities.

As recently as 2023 Beverly Martyn began to resurface once again. Releasing past interviews stories and anecdotes from her turbulent past. It felt like more music was possibly on the way too. But, sadly, it was not to be.

The comeback, after so many years, began with an album called 'No Frills' in 1998. With help from Art Garfunkel and fellow Dylan obsessive Wilko Johnson, Beverley began to write new songs and record some demos in the '90s, finally releasing an unaccompanied acoustic album after a very long silence.

The songs on 'No Frills' are intense. Beverley's voice was still expressive, the accompaniment sparse but competent. 'No Frills' was aptly titled.

Reviews for the album generally highlight its raw emotional honesty while occasionally noting its minimalist production. It was an album that Beverley was particularly proud of and called it a 'phoenix moment'.

A quite graphic book, Sweet Honesty' was released during January 2011. For years Beverley had kept quiet about the abusive relationship. But here, in those pages, she tells her story in her own words, taking us from her childhood in post-war Coventry through the making of classic albums 'Stormbringer!' and 'Road to Ruin' to the books release, where she survives as a woman beaten but not bowed.

Another head above water moment came during 2014. Aged 67, Beverley returned with an album titled 'The Phoenix and the Turtle' . This was only her second since 'Stormbringer!' and 'The Road to Ruin', the pair of classic folk-rock records she made in 1970 with her ex-husband, the late John Martyn.

'The Phoenix and the Turtle', recorded with former members of Los Lobos and Counting Crows, is an affirming testament to her survival instinct. 'It's been the best thing for a long time' she says. 'It's good to work, it's a great way of escaping your everyday troubles. I'm enjoying this time of my life. I just turned 67, I'm still here, and I think I know who I am now. This is what I do'.

Described by Beverley as a very personal album, 'The Phoenix and the Turtle', features songs written throughout her entire career, from her very first song, 'Sweet Joy', to the previously unrecorded Nick Drake & Beverley Martyn song 'Reckless Jane' which began life in 1974.

Several live performances followed. This included a gig in her native city of Coventry where she was accompanied by producer of 'The Phoenix and the Turtle' and guitarist Mark Pavey. Support for that evening was Cliff Hands.

A collection of live and home recordings, often featuring collaborations with John Renbourn titled 'The Attic Tapes' was released during 2015.

Finally, 'Where the Good Times Are' was released during 2018. This is a compilation and was released for Record Store Day in vinyl format. The album features early recordings from the 1960s, including her solo singles and previously unreleased tracks from her time with the Deram label.

50 years or so after their recording original tapes were unearthed and restored to create a representation of what could possibly have been Beverley's debut album. It is a remarkable record.

Chevy Interview 1981

 Chevy Interview 1981

by Pete Clemons

Chevy Interview 1981

The New Wave of British Heavy Metal was a big genre in the 1970s and continued into the 1980s. An awful lot of heavyweight bands were associated with the scene. A couple of compilation albums 'Metal for Muthas' were produced on the back of the metal phenomena. Leamington Spa band Chevy contributed to volume 2 of that series. A huge article littered with interviews was released to the music papers in order to promote the Muthas albums. Here I have extracted the parts of the article relating to Chevy..............

Every so often something comes along as a total shock, bursting upon you instead of creeping up via an escalating feeling of 'hmm must check them out properly sometime they sound quite promising'. Chevy were one of those rare exceptions; their eponymous contribution to 'Metal For Muthas' passed by a welter of other cheapskate sounds, and only much urging by record company Avatar coaxed me to Coventry where I - and many others - were knocked sideways and proceeded to rave, froth at the mouth and shout Chevy's virtues.

And then the album emerged, a good solid debut of......nothing in particular. Great songs well played but no sparkle of life, and it began to appear that the Coventry cataclysm had been a bit of a fluke when the Alvin Lee tour found them being rushed on and off with little fire or apparent commitment. An ongoing 'forget it lads' scenario was in the air.

But now - shazam!. The renaissance of Chevy begins. They can still do it, I saw it with my own eyes (and I have witnesses!) - Chevy tore apart.....a radio 1 in concert session. I saw it all; in their brief thirty minute set. Chevy had a decidedly mixed audience all but dancing in the aisles, as they bristled with infectious energy and enthusiasm that left the audience breathless, let alone the band.

Words were definitely in order as I told them I was there to do an interview, dead casual like, and they said 'oh', dead casual like. So we did it, dead casual like.

Your history please, gentlemen....began the chat:

Martin Cure: 'the band first saw light of day, in its present form, about 2 and a half years ago as Four Wheel Drive. We even called ourselves The Sting for a while'.

Loud and embarrassed plea's for silence on that matter ensue.

Bob Poole: 'that was the biggest, most drunken bunch of loonies you've ever met, that lot was'.

Martin Cure: 'but anyway, that was 2 and a half years as a five piece. And we've looked back ever since'.

Paul Shanahan: 'we did a lot of covers then, a bit of our own material, and we were doing all the local gigs. Slowly we knocked the covers out and ended up doing our own material. We used to do Steely Dan numbers, Boston, the Allman Brothers Jessica, all good stuff that was enjoyable to play. We were doing pub gigs like that. Like we're still playing now!'.

As their own material took command they began to accost record companies with tapes, by a strange twist of fate they found a way of attracting attention to their own tape amidst the mass of others that flood into A&R departments everywhere:

Martin Cure: 'we were doing all these demo's, and it was a long job copying them into the early hours and, er, one slipped past quality control, which ended up at Bronze. They wrote a letter back which read 'thank you for your tape. Unfortunately after listening to it I couldn't find any music on it. I am returning your tape in the hope you will put some music on it and I will give it a listen when you send it back'. So we did and it was Peter Shallcraft who's now here at Avatar. He liked the tape and tried to get us a deal at Bronze but at that point in time they, er, felt unable to do that. It annoyed him a bit, and he heard that EMI were doing a compilation album and put the tracks forward for that and they took the track 'Chevy' as it was'.

'Shortly afterwards Peter left Bronze and came to Avatar, and he suggested that we talk to Avatar, which we did. And they let us do an album straight away, which we were very pleased to do. We'd had a few offers for one off singles, but we thought if we were going to give someone an arm and a leg, we might as well get an album out of it'.

Ok, the deal is in the bag, but what are you aiming to achieve with it?

Bob Poole: 'we're into people like Free when they started, Led Zeppelin - they wrote rock songs, that's the sort of stuff that we want to write, but with plenty of balls. Like the Praying Mantis single, that's great, that's the way it's got to go. In the next couple of years more and more bands will be going that way, there'll be much less of the thrashing. Right now you can think back, at many bands, and remember good songs, your heads swimming'.

Paul Shanahan: 'our personal taste is to try and write songs with a bit of punch to them. We're a ballsy band, we don't want to be like Steely Dan, it just wouldn't suit the way we are'.

So what happened to the album then? It had good songs, it was a good album but largely lifeless in chart position.

Chas Chaplain: 'it reflects the type of music we do, but doesn't reflect the way we play very accurately, we tend to play with a bit more aggression and life than the album puts across'.

Martin Cure: 'it's not our fault. The producer kept crying all the time. And the way he kept disappearing to the toilet when he was sad, and when he came back he was happy and his nose was red at the end. He must have had a terrible cold, and he kept taking all these Phensic tablets and crushing them and putting them up his nose, but it didn't get any better. We kept telling him the English way was to dissolve them in a glass of water'.

Bob Poole: 'seriously though, the end result was as much our fault for not opening our mouths and saying something. It was our first time in a studio, and we didn't know how much we could say'.

Martin Cure: 'I think you can sum it up as a safe album, a polite album. I think certain people, who aren't actually here at present, wanted it that way for a certain market that's quite large and isn't England. I think they blanded us little bit to be honest, but I also think they are coming round to our way of thinking now'.

Paul Shanahan: 'at the time we wanted it remixed, but it wasn't allowed'.

The article wound down with the interviewer explaining how it hadn't been easy putting Chevy together. And that included a lot of graft and hard work. Plenty of touring with amongst others Alvin Lee and Hawkwind.

There was also a sacrifice to be made in giving up easier careers in favour of a rock band. For some it was financially immense.

That said, money wasn't the main motivation for Chevy but, of course, if it is coming in it helps matters.

Cabaret bands were mentioned and how the safe option of regular income had been forfeited, by some of the band members, in favour of this new venture.

Bob Poole: 'the good thing about the tours we've done is that nothing's frightened us or worried us too much. There's been no sitting around in dressing rooms wondering what we were going to do that night'.

Martin Cure: 'mind you, there was a date in Middlesbrough when they said that we can't pay you tonight. That had us a bit worried I can tell you'.

All in all, what counted was quality and Chevy had it in profusion.


Footnote: Steve Walwyn left the Chevy in late 1981. His departure occurred shortly after the release of the band's only studio album, "The Taker", which came out in September 1980. Walwyn was part of the line-up that recorded The Taker and remained with the group until late 1981. So this interview, I have assumed, happened around the time of Steve's departure.

PUSB (Play Up Sky Blues)– Premiership here we come

 PUSB (Play Up Sky Blues)– Premiership Here we Come.

by Pete Clemons

May 19 2001 saw Coventry City play Bradford City. It was the last time either team would play a Premier league football fixture. The score was 0-0. For Coventry City relegation from the premier league had been confirmed the week before after a defeat at Aston Villa. After 34 consecutive seasons in the top flight it was all over.

But what else was happening 25 years ago in and around Coventry?

Well for starters Coventry based band, The Session, was formed in May 2001. Coincidentally, The Session had their latest magnificent single, 'The Fortress of Solitude', played at half time of the recent anti climactic game vs Sheffield Wednesday played during April 2026.

Jumpin Jaks and the Sky Dome Arena, as well as the ice rink, was an active live music venue with T'pau performing there around the time of that relegation. T'Pau, featuring lead singer Carol Decker, performed at the Sky Dome Arena on Sunday, 27 May 2001.

The performance was part of the "Sound of Sky Dome" concert series, which aimed to bring monthly music events to the then-newly built 4,000-seat arena.

For lead singer Carol Decker this gig was a sort of 'homecoming' as Carol grew up in nearby Nuneaton after moving from Liverpool as a child.

T'Pau's set included 'China In Your Hand', 'Heart and Soul', 'Valentine', 'Sex Talk' and 'Bridge of Spies'.

We also had Tony Hadley, John Keeble and Steve Norman giving us a nostalgic night of Spandau Ballet music along with crowd pleaser's Go West who 'closed our eyes'.

The Godiva festival for June 2001 saw headliners Cosmic Rough Riders, The Crocketts and Rachel Stamp. Local representatives included Swamp Donkey, Dreamgrinder, Jesus Deluxe, Thoria and The Four Kings.

Ikon superclub was just about to open and Careys, Scholars and Fatty Arbuckles on Stoney Stanton Road were still pulling em in.

That satisfying romp 'Three Minute Heroes' ran at the Belgrade for a couple of weeks.

Finally, in the Music/Charts: UK number one singles during May 2001 included "Don't Stop Movin'" by S Club 7 and "It's Raining Men" by Geri Halliwell. "Lady Marmalade" by Christina Aguilera. Pink, and Mya also topped charts that month.

How the times have changed.

Since we were relegated it is fair to say that Coventry City have had quite the journey. Not least we will be playing in a different ground from when we last played in the top level. As such teams like Liverpool, Arsenal, Manchester United et all will each be playing league games at the CBS in Coventry for the first time.

25 years on and Coventry City have been promoted back to the Premiership. It was a fantastic and memorable season. New horizons now beckon. New history will be written. It will be an interesting and exciting season to come.

T'Pau - Heart And Soul

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