Pinkerton's Assorted Colours - 1966

 

Pinkerton's Assorted Colours - 1966

by Pete Clemons

1966 was an important year for Pinkerton's Assorted Colours. Their debut single 'Mirror Mirror' had hit the charts and further releases had become highly anticipated. This gave the band a period where they were exposed in the music press.

The following words were by vocalist, Tony Newman, while 'Mirror Mirror' was still climbing the charts.....

'The trouble is, that big break is so elusive' said 19 year old Tony Newman, the Pinkerton Assorted Colour who wrote their first hit 'Mirror Mirror', currently sliding up the pop 50. 'Naturally we're very pleased about it – it's going in the right direction', continues Tony.

Have the group got any ideas on a follow-up disc? 'Yes, we've recorded several things already. I wrote eight or nine numbers before we brought out 'Mirror Mirror', and now we've done a new one along the same lines'. 'I suppose' added Tony, 'that in a way, I'd like to do something completely different, but it is a bit chancy'.

Bass player, Tom Long, and Autoharp player Sam Kempe were part of an interview for the follow-up.......

Pinkerton's Assorted Colours ask, 'Will we be April Fools?'. Reason is that they release their follow up to their first smash hit on April 1st. Which leads to a matter of a split confidence inside the group. Sam (Pinkerton) Kempe said he felt 'Don't Stop Loving Me Baby' was better than their first 'Mirror Mirror'. He said 'We recorded it first, Its a better number. Its more 'beaty', more like our stage act'.

But Tom Long (rhythm guitarist) says 'We relied an awful lot on gimmicks for 'Mirror'. Don't think it would have been a hit at all without the publicity, because it was an inoffensive record, rather like a fairytale. But the new one will be difficult. Anyway, follow ups are one of the more interesting things in the pop world. We're interested in the Overlanders next record, because they're in much the same position as us. We survey the scene. The Hollies always follow up a hit well – except for the George Harrison number!. The Animals follow up as well. But Marianne Faithfull, Hedgehoppers Anonymous and Jonathan King missed out on theirs. I don't think ours will go higher than number four'.

Who helped Pinkerton's most? Said Tom: 'Our manager, Reg Calvert. He has drive and energy. Took us when we were nothing. He gave us our image, recording contract and everything'. So said the Eliza Doolittle's of the pop world.

Don't Stop Loving Me Baby / Will Ya (review by a national music magazine)

The group certainly lives up to it's name here!. The sounds they create on this disc are both assorted and colourful. I was particularly impressed by the ear-catching vocal blend, which occasionally shoots off into flights of falsetto.

The tune is simple and easily digested, while the beat is driving and contagious accentuated by some great guitar work and double-time rattling tambourine. I thought the added strings and bells were a bit unnecessary, but they wont hamper it's success. Flip side; Another stormer and not dissimilar in conception, which makes an extremely strong 'B' side.

Magic Rocking Horse / It ain't Right (review by a national music magazine)

Its been nearly five months since the boys last one, but this material is right enough to return them to the charts. Mid tempo and a song of lightness – about getting away from the problems of life astride a rocking horse. Should have all round appeal, plaintive lead vocal. Flip sip is more routine, but well arranged.

Polly Bolton

 

Polly Bolton

by Pete Clemons

http://www.pollybolton.co.uk/

Polly Bolton began her music career singing in the folk clubs around Leamington Spa. This article deals with when she hooked up with acoustic folk rock band, Dando Shaft, who were well aware of her talents.

1971 saw Polly Bolton finish taking her exams at Swansea University for a B.Sc degree in zoology. Polly had been interested in conservation long before ecology became a fashion 'in' word in every trendy person's vocabulary.

With her studies over she could start getting down to work with Dando Shaft, one of the brightest new groups on the acoustic rock scene.

Multi instrumentalist, Martin Jenkins (fiddle, flute, mandolin, cello) and a very highly respected musician mentioned during 1971 that, 'apart from a reasonable following in the north, the band haven't yet had as strong an impact as they might had have'. Dando Shaft were described by the music press as 'producing an exuberant, joyous sound'.

Dando Shaft's album on RCA's Neon label retains the spontaneous gaiety, though Martin said: 'the songs are more carefully arranged, with less jamming, plus the addition of Polly – a girl from Leamington Spa – who is the latest graduate of that remarkable singer making system we call the provincial folk clubs'.

Although Polly hadn't done much solo work, before she joined Dando, she was noticed by enough people for news of her prowess to have leaked down to London, usually the last place in Britain to know about promising new talent.

Polly had sang for a while with a folk choir called the Fenny Compton Coke Shovellers which she called 'multi-harmony arrangements of folk evergreens'. She had known Martin and the rest of Dando when they were in Coventry, and she mentioned: 'she'd always planned to join them when the time ripe'.

'Well', said a national music magazine, 'the time is ripe now, and so is her voice, and it comes out on record as a rich mature instrument belying her youth and apparent inexperience. Perhaps the fact that most of her singing, which has been specialised - and far from being in a group context, maybe accounts for the extremely able way she has integrated herself into a group that already seemed stuffed to overflowing with talent before she joined them'.

The beauty of her singing only went to prove that there were 'floor singers' male and female, in abundance, in many provincial clubs who could lick some of the highly respected soloists and concert performers in London in any fair contest.

Of course, until 1971, her studies have limited what she can do with the band. And this shows on the record which includes more songs without her than with her. But in addition to her lovely singing she displays a real talent for harmony within the context of the very tight vocal sound that Dando Shaft produce.

Polly also had to get used to singing through a PA, something which her folk training hadn't accustomed her to but essential in some of the ballrooms and heavy rock clubs where the band played.

Polly also sang on the Dando Shaft albums Lantaloon and Kingdom.

Polly Bolton with Dando Shaft

Polly Bolton's albums

http://www.pollybolton.co.uk/sales.html

NO GOING BACK - CD / Vinyl 

Polly's solo album produced by Ashley Hutchings in 1989.

WOODBINE AND IVY (CD only)

The first and some say the best of Polly's collaboration with John Shepherd (keyboards) and Steve Dunachie (fiddle). Featuring Sue Harris on oboe and dulcimer. Traditional songs. 1990

SONGS FROM A COLD OPEN FIELD - CD 

More songs from Polly, John and Steve, mainly traditional, featuring Paul Dunmall on sax. 1991

LOVELIEST OF TREES - CD 

A collection of beautiful song settings from A.E.Housman's "Shropshire Lad", written by John Shepherd and Steve Dunachie. Features readings by Sir Nigel Hawthorne. Very well received by the Housman Society. 1996

VIEW ACROSS THE BAY - CD 

Polly Bolton and legendary jazz saxophonist Paul Dunmall collaborate on this largely improvisational collection of vocals and various wind instruments. Also features Peter Brandt on double bass and Salah Dawson Miller on percussion. 1996

A WALK ON THE BEACH - CD 

Polly Bolton and Paul Dunmall improvised pieces, bit more scary than the previous album! Features the wonderful Bulgarian singer, Kalinka Vulcheva. Also Peter Brandt on double bass and Salah Dawson Miller on percussion. 2003

THE MAGIC OF SONG - CD 

All lead vocals Polly Bolton. Keyboards and guitars, Chris Gibbons and Kevin Dempsey.

Details on her website http://www.pollybolton.co.uk/sales.html

Dando Shaft 1970 - 71

 Dando Shaft 1970 - 71

by Pete Clemons

Visit Dave Cooper's https://raremusez.co.uk/Home/ for Dando related audio.


It must have been soul destroying for a band, on the verge of an album release, only for it to be ignored for whatever reason by the music press. Or maybe your release coincided with that by one of the major bands of the day. Then, of course, pages and pages were devoted to that particular artist.

And that's what appeared to be the case for Dando Shaft. A much needed window of opportunity, at the time of their first record, had slipped through the net. And that was the difference between success and mediocrity. However, by the time of the second album far more interest was beginning to emerge.

After eighteen months or so of playing the clubs and pubs of Coventry, Dando Shaft would eventually begin to make a name for themselves in London. This was particularly so at influential venues such as Les Cousins in Greek Street.

I can find no album review for Dando Shaft's debut album, An Evening With, but I did come across an advert at the time of the albums release which sought to promote the band. It read:

'Don't wait to be out of date. Book now and be in at the start of this fabulous new group. Five men, their own songs, you can hear the words and understand them. Tremendous instrumentals'.

December 1970 - new year predictions for 1971. '71 will be a very good year for Dando Shaft predicted a national music magazine. With Polly Bolton having completed her studies at Swansea University she was now free to spend more time with the band........

Dando Shaft's raw rushing swell of sound is apt to strike one off balance. It strongly favours the upper reaches of the scale, a situation which has been strengthened by the recent part-time addition of Polly Bolton, a university student who has increased the groups vocal power. Martin Jenkins' fiddle and mandolin work is particularly impressive. Their compositions are ideal for the group's sound, and their attitude towards music should give them a wide audience.

Polly Bolton appeared on several of the songs on Dando Shaft's second album. Here is a review of their 1971 release by the same magazine......

As with their first album this, their second album, has a very definite identity, and one that it would be very difficult to confuse with anything else. In comparison with the first album they have increased the stylistic variety of their compositions with pronounced success. To what extent this is due to Polly Bolton, who joined the group late last year, I cannot say but certainly her vocal contribution is extremely invaluable. Instrumentally the group have played with uncompromising drive. Polly's voice has balanced this with its biting intonation. Continuing the comparison, the production has exposed far more of the groups instrumental potential, covering a fuller range of bass and treble. Martin Jenkins mandolin playing is superb. His dexterity is such that the music almost knots the listener in its speedy paths. Martin is equally impressive with flute and fiddle, as on the beautiful 'Riverboat' which also gives Polly an opportunity to record a fine performance.

...........

A later review of An Evening with Dando Shaft appeared on this website

https://www.allmusic.com/album/an-evening-with-dando-shaft-mw0000016822

" An Evening with Dando Shaft Review by Richie Unterberger

On their first album, Dando Shaft came off as something like a more folk-oriented, yet also more hippie-oriented Pentangle. The percussive pulse of Roger Bullen's bass in particular gave much of the material a rhythmic swing that helped it stand apart from traditional folk, as did original material based around images of nature: rain, wind, leaves, the dawn, flowers, the country, and so on. The singing and songwriting betrayed a notable debt to Bert Jansch, though with a more whimsical bent that Jansch usually allowed. Their greatest assets, certainly in terms of putting their own stamp on a sound that bore close resemblance to aspects of Pentangle (and, more distantly, the Incredible String Band), were the colours added by multi-instrumentalist Martin Jenkins' mandolin, flute, and violin. As progressive folk that was pastoral in mood and not quite folk-rock, it was pleasant but ultimately not as distinguished or interesting as their unavoidable reference point, Pentangle. The Pentangle comparisons would if anything multiply when they added a female vocalist, Polly Bolton, for their next two albums."

Coventry Music 2022 Review

Coventry Music 2022 Review

by Pete Clemon

As widely reported, restrictions debilitated the music industry during 2020, and the best part of 2021. There was also lingering uncertainty. And that affected customer confidence which made planning, forecasting and money a huge issue. Gigs were still being postponed and rescheduled due to the pandemic.

That said it seems that 2022 proved a more positive year, in parts of it at least, than the industry expected. Touring and festivals have largely returned. As such confidence has quickly restored. However it has been reported that the overall value of the music industry is still down on pre pandemic levels. Grass roots still needs your support. Talking grass roots a series of 'sessions' by local bands and artists were held at The HMV Empire. This was a magnificent gesture as these sessions were free.

Despite this backdrop, closer to home, we saw the release of some really fine music. Several releases that spiked my attention included the following.

Moonbears – Four Sides For Red: One of those groups who keep pushing forward the frontiers of pop music but who are, sadly, probably destined to remain in relative obscurity. This album makes it clear that they deserve better and is one of the best advertisements for that progression. Several years in the making this double album was a true labour of love. Always an interesting and inventive band with all sorts of sounds cropping up.


https://themoonbears.bandcamp.com/album/four-sides-for-red-2


Callum Pickard – Tarragon: First solo album, carefully produced, beautifully arranged. This album has a quiet romantic charm, likely to appeal to quietly romantic folk. Callum really gets inside the songs and performs them wonderfully throughout. He is also in the company of many excellent musicians who have clearly recognised his talents.


https://tarragonuk.bandcamp.com/album/ive-just-seen-a-scene


Freedom to Glide – The Chronicle of Stolen Souls: Apart from the thought provoking feelings and spirit that permeates from each F2G release there is usually some healthy musicianship. Additionally F2G usually deal with incredibly heavy subject material. And this release is no different. Current events appear to have sabotaged the bands chosen path and, instead, presented us with this powerful release. Additionally, F2G appear to be attracting a lot of attention. Particularly on the other side of the channel particularly in the Netherlands.


https://freedomtoglide.bandcamp.com/album/the-chronicle-of-stolen-souls


King of the Alps – Heart of the Matter: Although this release seems, on the face of it, to be in the folk idiom it doesn't bear much resemblance to folk music. Regardless, King of the Alps appear to be having great time with their uncomplicated style. And it leaves a lasting impression. The quality of these songs are quite addictive. Titles like 'Wonderful Day' and 'Me and You' slowly burrow their way into you. There isn't a better day coming for these three Kings.


https://bandcamp.com/tag/king-of-the-alps-band


Doug Veitch – The Eclectic Electric Ukulele Blues Band: Featuring Doug Veitch and Alan Dawson on electric Ukulele, Horace Panter and Rick Medlock. This EP is an example of the professionalism of musicians who can seemingly turn their hands to any style of music. This, against the randomness and spontaneity of those who wanted to get the job done quickly. But what has all this to do with Coventry?. Well despite being written 300 miles away, two of the main protagonists are associated with Coventry, plus this release was produced here by Roger Lomas. Do not be put off by the title as this is a wonderful musical journey. From the opening number, 'Lockdown' it takes you completely off guard. Just do not expect any Formby.


https://en-gb.facebook.com/TheEclecticElectricUkuleleBluesBand/


Shiloh Clarke – A Million Things: With this single release Shiloh and song writer Leigh Malin are pushing important messages that command attention. Both are clearly conscious of a need to move beyond the relaxed soul sound which Shiloh excels at. The song bombs along and manifests glee. So much so a second listen, immediately after the first is almost compulsory. Another Roger Lomas production.


https://open.spotify.com/artist/2a3ETHubNHydNYFxEIcXrP


On the live front a gig in Coventry that I will never forget, and will possibly become the stuff of legend, was The Unthanks at Drapers Hall: Impossible to try to summarise the sheer beauty and diversity of the music that was laid before us. From the opening number of 'We Picked Apples in a Graveyard Freshly Mowed' to the hard blowing 'Starless' the whole evening bore the stamp of great preparation and a real sense of enjoyment by the musicians involved.

Other significant gigs I attended locally included:

The Dirt Road Band / Holly Hewitt / Bob Jackson - Albany Club: Songs like Laundromat, Little by Little with Holly and Goin' Down with Bob really had the club rocking. Truly memorable evening.
The Primitives / The Session - HMV Empire: Spin-O-Rama, Spacehead and the inevitable Crash made for a great evening. Solid and complimentary support too from The Session.

Tangerine Dream - Coventry Cathedral: Unforgettable evening as the current version of Tangerine Dream performed a set of both new and classic material.


The self indulgent bit..........

Away from Coventry albums released during 2022 that I really enjoyed included:
Pineapple Thief - Give it Back
Tangerine Dream - Raum
Tim Bowness - Butterfly Mind
Porcupine Tree - Closure/Continuation
Gazpacho - Fireworking at St.Croix


Again, not related to Coventry, but an incendiary gig all the same, was Porcupine Tree at Wembley Arena: An absolute triumph for, probably, a rock band few of you will have heard of. 30 years in the making and playing in front of a 12500 capacity audience. An absolute moment indeed.


Finally........


Another aspect of the music industry I hugely enjoyed have been the tour diaries. Particularly those by Horace Panter on his time touring with The Specials earlier this year. They were graphic and pulled no punches. The reader is given an interesting insight to the trials and tribulations of life on the road.


Similarly drummer Rick Medlock kept us entertained with his video diaries released during his national tour of the UK with Gary Puckett and Union Gap.


During a recent walk I mentioned to Rick Medlock how much I had enjoyed the tour diaries of both his and Horace. Little did I know then just how profound Horace's last, and most recent, diary entry would be. RIP Terry Hall.