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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The Sorrows 1965

 

The Sorrows 1965

by Pete Clemons

A lot of people will remember the Song "Take a Heart". It was Released as a single in August 1965 by Coventry group The Sorrows and became a UK chart hit, reaching the Top 30.

“Take a Heart” is known for its hard-edged R&B sound and "tribal" drumming. It was written by Miki Dallon but was originally recorded as a B-side by a band called The Boys Blue before The Sorrows' version became famous.

Chart success led to The Sorrows gaining a modi-come of national press interest, tours etc. Here is one such article that came on the back of the bands time in the limelight................

It used to be the fashion to say 'We don't want a hit record' . Now The Sorrows have come up with a new complaint - they think their current Pop 50 entry 'Take a Heart' projected the wrong image.

'Of course we feel happy that the record got us off the ground and brought us to the money earning bracket where we always wanted to be' says 6 ft 7 inch lead singer Don Maughn. 'But we don't in fact play this sort of thing all the time'.

'Our music is far wilder, louder and more distorted. Our new one 'You Got What I Want' is far more us, with lots more noise. The thing about The Sorrows is you either like us or hate us. We appeal to the deaf set'.

Don agrees that 'Take a Heart' has made a big difference. 'They are working us ten days out of seven' he said 'The theory seems to be that we have been sleeping for the last 18 months so we can get through the next 18 without any'.

'Take a Heart' was probably also responsible for the battle of West Hartlepool - The Sorrows' first experience of fan fever.

'I'd never seen anything like it' recalled Don. 'Our lead guitarist, Pip Witcher, walked to the edge of the stage to shake hands with a girl. That was the last we saw of him for 10 minutes !'.

'He came back with one leg of his trousers gone, minus a sleeve of his jumper and cuts on his face. Then they charged the stage 300 strong'.

'I was on the floor with all these girls piled on top of me. A bouncer joined in. He was a nice quiet type - probably a probation officer or something like that during the day. But he started trying to get these women off me. I was in total agony for a week'.

'All of a sudden everything went up. Chairs were flying about. They finally locked us in the dressing room'.

'When we came out for the second half there seemed to be more bouncers than people - all standing in front of the stage. It was like playing to the back of somebody's head'.

Still, what are a few bruises when all that lovely loot is starting to roll in?.

You Got What I Want - The Sorrows

Take a Heart live The Sorrows

David Bowie - Lanchester Arts Festival 1972

 

David Bowie - Lanchester Arts Festival 1972

By Pete Clemons

David Bowie, it seems, was scheduled to appear at the now legendary 1972 Lanchester Arts Festival in Coventry but withdrew at very short notice. Festival organiser Ted Little indicated Bowie pulled out because his management felt he wasn't a good fit for the bill topped by jazz saxophonist Rahsaan Roland Kirk on the polytechnic site. (The festival was spread across different venues including the Locarno).

And this was at a time when David's record 'Hunky Dory' had just been released - an album that today - is still highly praised. And close to that scheduled appearance in Coventry, as part of the 1972 festival, David was even interviewed.....................

Since the very early precociously talented releases of 'Rubber Band' and 'Love You Till Tuesday' way back in the mid 60s David Bowie hasn't exactly been swamped with instant recognition.

His kind of wierd tongue in cheek material and half Newley voice didn't quite fit, it seems, into the kind of things that were going down then. It wasn't really until 'Space Oddity' that his name got around, and even then it didn't fore-run a massive trail of success. It was always a very jerky passage for Bowie. Half recognised, half buried not helped by the fact that he apparently was not too keen to do live appearances, didn't see himself as part of the rock and roll circus, and every so often just disappeared off the scene.

He did, however, record. And the result of these sorties into the studio presented us - after 'Oddity' - with a rather ragged album 'David Bowie' which gave a pointer to the way he was going to move musically but never quite gelled, but then the massive peculiar and neurotic 'Man Who Sold the World' and finally 'Hunky Dory'.

And although 'Man Who Sold the World' got Bowie off finally in the States, it wasn't until 'Hunky Dory' came out earlier this month that the cluster of British critics who had 'poo-poohed' Bowie as a rather boring freak they couldn't put into a musical compartment, sat up and took notice.

'Hunky' - a tight melodic collection of rock on tracks - has been backed up with Bowie's own imagery of prancing and capering and giving outrageous quotes when he feels like having a bit of fun with someone. It's his first album with a new record company and its success, backed with new management, has given him a whole new approach not only to his recorded work but to live gigs in general.

'We've really been swamped with work - turning down bookings every day. Lanchester happened to coincide at just the right time and looked like a good place to play. Certainly I've changed my whole outlook about live appearances. We're not going to go flogging around the country every night, but we'll do much more live work than we have in the past. I think really what's happened to my approach to work is having a new enthusiastic people around me makes life so much easier and it's made me more enthusiastic myself, plus we did this gig in Aylesbury before Christmas and got such a great reception it got us off'.

For Lanchester Bowie will be backed up by his usual three-piece line up of Mick Ronson, 'Woody' Woodmansey and Trevor Bolder who replaces Tony Visconti on bass.

It will, he says, be a composite show with only a few numbers from 'Hunky Dory' - and inevitably - 'Space Oddity' because 'it's a good little tune and you can't really ignore it can you?'. The mainstay of the material he'll be using will be from past albums - stuff like 'Wild Eyed Boy From Freecloud' - and from the new album he's just laid down in the studio's.
'I feel that a lot of the material from the two previous albums really didn't get much of an airing - certainly not on stage - so they'll be nice to do for people. At the time neither got much attention over here, probably they just weren't right for the time and had more empathy with what was going on in America.

'On the new album we've tried to capture the sound we had going for us on stage. A sort of phonographic representation of the stage act with a few strings added. It's such a harder sound than 'Hunky Dory' but certainly not as paranoic as 'Man Who Sold the World '.

After his Lanchester gig Bowie has his first real British tour since the very early days with Humble Pie two years back. A tour which should finally get him off the ground with British audiences before he goes back to the States, which has always reserved a special place for his talents.

'I don't know why it is but they certainly got into the music faster than they did here so really I can't help thinking of the British dates as something of a 'rehearsal' before we go to the States'.

Rubber Band

David Bowie - Space Oddity (Rare & Unreleased 1969 demo version)

Memory Of A Free Festival-by David Bowie

Changes

Burns & Dolphin – Pick 'n' Mix

 

Burns & Dolphin – Pick 'n' Mix.

By Pete Clemons

Dennis Burns and Leigh Dolphin are not exactly household names. That said, you may have heard bands they have played in. Both Dennis and Leigh are musicians and songwriters from Nuneaton, Warwickshire known for their work both as a duo and with various local bands. Among them, and possibly most notable, was Fresh Maggots. Leigh was part of the folk duo Fresh Maggots (along with Mick Burgoyne) in the late 1960s/early 1970s. 

The duo was known for their unique sound and a variety of instruments, including guitars, glockenspiel, tin whistles, and strings. Shortly before Fresh Maggots were formed, Dennis Burns formed the band "Flood" in late 1969, where he played lead guitar and provided backing vocals. Flood, incidentally, also included Mike Warren on lead vocals, Mike Adler on bass and Dez Warren on the drums. Later, Leigh also joined Flood on acoustic guitar. 

After Fresh Maggots 1st album was released, Dennis left Flood to roady for the Maggots. Dennis later appeared with bands such as The Mix and Urge. Well, they don't need those bands any more. Not that an association with them is any way something to be ashamed of. Far from it. This is an entirely different project. And they have completely made this on their own. More recently both Dennis and Leigh have performed as a duo, known as "Burns & Dolphin" or "DBXLD". They have released music under this name, such as the track "Don't Come That With Me" which just happens to be the opening song of their recently released album titled “Pick 'n' Mix”. 

With Leigh suffering from arthritis in his hand, Dennis along with son Nick have been recording songs written with Leigh that emerged initially during the late ‘70s through to the early ‘80s. In fact Nick has had to play most of Leigh's parts. Apart from producing it, Nick played: drums, bass, guitar and sang backing vocals. And yes, there is little doubt when you hear them, these songs do have a nostalgic feel to them as, throughout the album, different eras seem to spring up in your mind. And that is no bad thing. 

This album is an undiscovered gem and a remarkable time capsule of sorts. On “Pick 'n' Mix” the pair deliver the goods throughout this entire collection. The songs within it are impressive and satisfying in every way. Everything about it appears to come together so smoothly. The songs, admittedly a little eclectic at times, work together with sensitive empathy and understanding. 

I asked Dennis if this was an album of unfinished business. He replied saying it was “unfinished in the sense that there are 2 more albums to go”. Such, I guess, is this vast depth of the vaults. Around 40 of them, according to the booklet. 

The hope is that key players such as music supervisors who select music for TV and film pick up on these songs for placements in shows, movies, ads, and games. With the music business being what it is nowadays, this is a crucial income source beyond streaming and the selling of physical copies. 

However for those such as me who are old hat and still prefer physical product, the "Pick 'n Mix" CD is a limited-edition run. It was released by this Pontefract based duo during November 2025 and features 11 original, genre-blending tracks. The CD also includes an eight-page printed leaflet booklet with a bio, lyrics, photos of the artists, and an artist credit list. It is available for purchase via their Bandcamp page. There are possibly gigs to come in support of this venture.


https://burnsdolphin1.bandcamp.com/album/pick-n-mix-2