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

Indian Summer, Black Sabbath and Jim Simpson

 

Indian Summer, Black Sabbath and Jim Simpson.

by Pete Clemons

Before there was Black Sabbath there was Earth. Earth were the precursor band to the legendary heavy metal band fronted by Ozzy Osbourne. They were described as 'a blues-driven powerhouse already making a name for themselves'. This was 1968/69.

It's incredible to think that 50 plus years ago, while still known as Earth/Black Sabbath along with Coventry band Indian Summer shared the same management. That being Jim Simpson and Big Bear music.

With the incredibly sad passing of Ozzy Osbourne and the inevitable end of Black Sabbath I felt an urge to collect some recollections from that time. I just wanted to capture some memories from a time when ideas flourished and when dreams seemed endless. I just couldn't let that whole era just drift away

Thankfully, and with much gratitude I was gloriously blessed with responses to my requests and enquiries.

Bob Jackson (Indian Summer / Badfinger) – July 2025:

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

Paul Hooper - (Indian Summer) July 2025:

Indian Summer with Jim Simpson (2nd on left sitting) signing the deal.

Due to the recent sad passing of Ozzy the BBC put on the classic LP programme about Sabbath's first LP. So I watched it with some interest ..it kind of confirmed to me my initial reaction to what they were doing as a band at the time when they morphed from being Earth, and doing blues type covers with a lot of jamming, into Black Sabbath and basically using minimal basic riffs and chord progressions which became their template.. to be honest I wasn't that impressed and didn't expect them to be that popular with their depressive doom laden compositions and rather crass lyrics ..but how wrong could I be ..they obviously responded with a lot of people who identified with it

...to this day I still don't really rate their stuff much and didn't think Ozzy was a great singer...bit what he did suited the material ...I don't think there would have been as much media coverage about his passing if it wasn't for the very popular Osborne Family TV show that ran for several series under the direction of Sharon ..it made her and Ozzy house hold celebrities and raised profiles considerably so that Ozzy became synonymous with his character personality ..to the point where his voice was available as a sat-nav option..when that happens you've definitely become an A list celebrity....

What was interesting about the program was the comments and recollections of people like our manager at the time Jim Simpson plus what the band members had to contribute in retrospect...what came across was the fact that they were mainly just jamming around until a riff or chord structure appealed in some way and they'd then go on to construct some sort of composition from it ..but that their wasn't within their collective any great song writer..it was all pretty basic stuff and worked in a way that punk did a decade later ...and there's no doubt about that..it definitely worked ...and no one was more surprised at their initial success with paranoid than the band themselves.

I then sent Jim Simpson an email, fully aware that he was in high demand with TV. It contained questions such as how he had discovered Indian Summer and if he saw them play in Coventry before signing them and how did the end come between himself and the band ? I got this wonderful reply that kind of touched on my questions......

Jim Simpson – October 2025:

Former Black Sabbath manager Jim Simpson (right) and Muddy Waters

I was operating the weekly blues night at The Crown pub in Station Street where Tuesdays Is Bluesday. We headlined with touring American blues musicians and UK bands who were then on the rise – such as Status Quo, Ten Years After, Rory Gallagher & Taste, Jethro Tull etc. But I always opened with a local band, believing as I did – and still do – that Birmingham is The UK home of Rock & Roll. Indian Summer approached me to play there, and I was really impressed and briefly took on management.

I cannot remember any involvement of Don Arden with Indian Summer, though he had made 2 failed approaches to Black Sabbath through his then employees Patrick Meehan and Wilf Pine. Subsequently, after I lost Black Sabbath to Meehan and Pine, who, by then, had gone solo after quitting Don. Don Arden was extremely good to me with support in the Court case (see below) against Black Sabbath as well as giving me an office in his Portland Place office suite opposite the BBC.

I did the recording deal for Indian Summer with Olav Wyper of RCA Records, who had joined from Phonogram where he had launched their Vertigo label. At RCA he set up their underground label, NEON, which released the Indian Summer album.

I cannot specifically remember the details of my split from Indian Summer, but I cannot remember it being rancorous, more of a drifting apart – probably due to the fall-out of the Black Sabbath split which had decided me not to repeat what had happened with Black Sabbath, discovering them at a time when they had absolutely nothing going for them and taking them on, building them up to become a major attraction only for then to walk out on me when we had a No 1 album, a No 7 album and a No 2 single. At that point I set about rediscovering neglected American bluesmen, bringing them over for UK/European tours and recording them for my Big Bear Records label - which took up most of my 1970s.

HENRY'S BLUES HOUSE - THE CROWN, BIRMINGHAM

March 1976 Sounds Magazine:

Black Sabbath have settled their dispute with former manager Jim Simpson, now boss of Big Bear records, for £7500 in an out of court agreement.

Simpson took them to the high court at the end of a four-year action following the band's leaving him at a time when their Paranoid single and album were high in the charts.

He said that if he had been prepared to pursue the case for a couple of years more he might have received up to half a million but the band's solicitor Mr John Wood said it was a 'nuisance value' payment so that Sabbath could get out of court and into the studio.

Simpson was also suing Patrick Meehan who took over handling Sabbath when they left him and the out-of-court settlement from him was £27500.

Simpson said the £35000 total would put Big Bear records on its feet as they have a £5000 overdraft at the moment.

Sabbath's spokesman said they would continue to manage themselves as they have done for more than a year now.

Indian Summer RCA Neon Full Album 1971

BOB DYLAN IN COVENTRY - REVIEW BY PETE CLEMONS

BOB DYLAN IN COVENTRY - REVIEW BY PETE CLEMONS

PUBD

Bob Dylan has been and gone. He played in Coventry as part of his 'Rough and Rowdy Ways' world tour. The concert, held at the Coventry Building Society Arena, was his first ever performance in the city.

I remember reading how, several years ago during a show in Europe, Bob Dylan grew so enraged by fans taking photos and shooting video that he stopped the set. He retorted “'take pictures or don’t take pictures' he snapped. 'We can either play or we can pose. OK?'

Bob has performed in minimal light throughout parts of his career, using specific lighting choices to create a certain atmosphere or make himself less visible to the audience. So this is not really a new thing.

But he is right in that phones have made concerts almost unbearable at times. It is a difficult situation. That said, for this performance phones had been put in secure pouches to ensure the audience was fully immersed. Despite that, the majority were still being punished to the mischief of the few. In fact, I would say that this, quite possibly, had a detrimental effect.

The bigger problem was that, for me, it created for one of the bleakest crowd, energy wise, I have ever experienced. There was disgruntlement and dozens streamed out after less than an hour.

Additionally the sad fact is, in the case of the Coventry gig, it was an absolutely brilliant show – musically it verged on utter genius, a truly unique performance – but will it be forever overshadowed by a camera debate?.

According to reports, those in the first few rows appeared to be OK. To the rest of the crowd, and this room is spacious, I suspect Bob Dylan was little more than a visual smudge behind the piano with lights on top, 'you could just about make the top of his head out' assuming they were able to see any trace of him, or his band, at all.

Bob Dylan has written over 600 songs across his career, with some estimates reaching closer to 1,000 when including unreleased or co-written tracks. So the choice, as to what to play live is immense.

He began with 'I'll be Your Baby Tonight' followed by 'It Aint Me Babe'. They were absolutely magnificent and performed in a style that set the tone for the rest of the set.

Of the album songs played, the album's opening track, 'I Contain Multitudes,' sets the tone for an exploration of an all-around, changing self and the contradictions within individuals and society.

There are several moments that address death and the passing of time as Bob reflects on his own age and the universal frailty of human life. Songs like "Mother of Muses" are odes to the sources of his inspiration.

But there are moments of tenderness, such as 'I've Made Up My Mind to Give Myself to You,' an overt love song that offers a sense of peace and devotion.

Overall, Rough and Rowdy Ways is a dense, cryptic look at a world of both immense injustice and enduring hope. The album is rich with historical and musical references. It is a late-career reflection on a lifetime of experience and, at the same time, an examination of where we are now as human kind.

With phones safely locked away, and i got the intimate stage lights thing, but this was far from an intimate venue. The sound wasn’t brilliant either, it tended to bounce around the hall. However, Bob's voice held up really well.

I hope Bob Dylan got to see more of Coventry than Coventry got to see of Bob Dylan. As his times of sand disappear I really hope these gigs have not damaged his legacy and that it is not memorable for all the wrong reasons. Not that Bob himself probably cares. As I read often, its Bob being Bob.

As for the music - truly masterful and accomplished however, as a spectacle and lasting memory – possibly an own goal. Time will tell.

For those who could'nt see them them the band was:

Bob Dylan – vocals, piano, harmonica, guitar

Anton Fig – drums

Tony Garnier – electric and standup bass

Bob Britt – acoustic guitar, electric guitar, lap steel

Doug Lancio – acoustic guitar, electric guitar

Bob Dylan — I've Made Up My Mind to Give Myself to You. Coventry. November 13, 2025

Phil McWalter with Valuable Friends - Songs That Mean Something

Phil McWalter with Valuable Friends - Songs That Mean Something.

By Pete Clemons

As soon as one album hits the player another album is announced. It was only a matter of weeks ago I put together a few words about the album titled 'Valuable Friends'. And now along comes 'Songs That Mean Something'. 

This may be the same band as the previous release, well almost, but it’s certainly not more of the same. The contrast between both albums is stark. 

Think The Beatles and their Red and Blue albums. Not in a way that compares the bands and songs. Not that they are chronologically ordered in any way: Think of them in a way that emphasises the gulf in difference between both albums. 

In the case of The Beatles, The Red Album focus's on their early work and transition into their later sound. The Blue Album covers their more experimental and mature work. 

And on 'Valuable Friends' (the blue sleeved album) it did have an experimental feel to it. But here, on this Red coloured album, 'Songs That Mean Something' you have a collection of songs that are immersive experiences and demand your full focus. 

The songs are tight, laid back and easy to listen to. They appear to be reflective and personal. While not assaulting you, they do on occasion, make you sit up. 

Unlike 'Valuable Friends' - the Blue album, recordings on this, the Red album, have been kept on more of a tight reign. It does not scatter or radiate. The songs are far more controlled and more structured. They do grab your attention and possess an immediate and undeniable quality, drawing you into Phil's world from the very first notes.

Additionally the album delivers flawless melodies. It is lyrically dense, poetic, and is a deeply personal world-view across a vast collection – 18 songs in total. This is from the heart and soul. The albums opener, 'A Pretty Waterfall', sets the scene with it's effortless brilliance. And so the album continues… 

The seventeen songs that follow on articulate feelings or experiences that few could put into words. 

They seem to speak to a part of the human condition, making you feel less alone. As the lyrics sink in, they can reveal new meanings based on where you are in your life, creating a bond that deepens with each listen. 

Inside the sleeve, apart from the album itself, is a booklet containing plenty pictures of the band and a selection of the lyrics. 

Next, the songs, are they worth listening to? Well, the answer is an unqualified yes. They contain catchy hooks and tremendous words. At times even a little ethereal. 

If these albums ever reach the mainstream, or sell by the bucketful, expect conversations about which is the better between those who made their purchases. Songs really do mean something.


SONGS THAT MEAN SOMETHING 

Get the album here on above link.

Nigel Lomas – A Musical Journey

 

Nigel Lomas – A Musical Journey

by Pete Clemons

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

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

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

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

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

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

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

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

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

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

Recordings that included Nigel from this period included:

1963 The Orchids - Gonna Make Him Mine

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Some critics enjoyed it.......

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

Some critics not as much.....

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

The second single however failed much better....

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

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

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

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

 

 

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

 

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

by Pete Clemons

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

Warrington-Runcorn New Town Development Plan, perfectly.

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

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

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

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

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

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

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

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

Nektar

 

Nektar

by Pete Clemons

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

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

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

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

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

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

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

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

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

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

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

Chevy – St Patricks Club, Leamington Spa

Chevy – St Patricks Club, Leamington Spa

by Pete Clemons

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

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

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

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

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

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

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

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

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

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

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

Valuable Friends

 

Valuable Friends

by Pete Clemons

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

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

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

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

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

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

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

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

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

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

View and hear sound bites from their album here.

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

Coventry Theatre – Birthday and Spring Shows

 

Coventry Theatre – Birthday and Spring Shows.

by Pete Clemons

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

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

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

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

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

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

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

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

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

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

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

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

Black Sabbath – The End

 

Black Sabbath – The End

by Pete Clemons

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Groovy Garden

 

The Groovy Garden

by Pete Clemons

Someone wiser than I am once said 'a night out in Coventry? Easy. A good night out in Coventry? A bit more difficult' - but it could be done, whatever your tastes in music, decor or clientele.

A recently advertised Groovy Garden reunion at the Kasbah had myself and, I suspect plenty of others, casting their minds back to many a chilled out Sunday evening simply taking in a variety of new and old sounds.

The Groovy Garden was a popular club night in Coventry. It began during the 1980's started as a Sunday night club at the Dog & Trumpet (D&T). The club night later relocated to the Tic Toc Club during the early 1990s. More recently, Groovy Garden nights have been revived at the Colosseum and Kasbah Nightclubs. In warmer weather, the Groovy Garden events have been held outdoors in the Kasbah's garden area.

That said Clive Parker-Skelhon and Steve Edgson hosted the inaugural Groovy Garden at Corks Wine Bar, where Clive was introduced to groups like 'Sounds Orchestral' and other cool music.

Arguably however The Groovy Garden was best known for its 90s music, particularly indie, Britpop, and guitar-led classics, creating a feel-good, nostalgic atmosphere. The night often featured themed events, like 'Groovy Garden vs Green Onions vs Kinky Afro Reunion'.

Giraffes guitarist, Nigel Williams, took over doing the Groovy Garden from Paul Sampson who, in turn, had joined Steve Edgson at the Dog & Trumpet. Paul had been getting more recording work by then and Nigel carried on doing it with Steve at Tic Toc, Silvers, The Alhambra and briefly at the 3 tuns. Nigel recalled 'it was lucky The Giraffes rarely had a gig on a Sunday'.

A lot of folk were disappointed when the Tic Toc closed up. They held some cracking nights there in between university terms. One student quote was 'best night was the Groovy Garden and the LBG night/Sunday afternoon. Always a good atmosphere and no trouble. The Colly was a decent replacement though'.

The Tic Toc also held a Friday night cabaret evening, as well as hosting jazz bands, innovative theatre and, of course, the Sunday night Groovy Garden 60s/70s disco, which was free. Bar times are till 2 am on Thursday, Friday and Saturday, 1 am on other weekdays, with normal times on Sundays, although the disco always continued till midnight.

The first Groovy Garden at the Kasbah which, by then had moved to a Saturday night, was an extra special event as it hosted ets from Lethal Bizzle, Skinnyman, Marvin The Martian and 91db.

The Groovy Garden events are characterized by a strong sense of nostalgia, with a focus on 90s music, including indie, britpop, and other guitar-led classics and was generally considered as 'a fine night to round off the weekend'.

Jigsaw – Sky High

Jigsaw – Sky High

by Pete Clemons

It was November 1975 and it was only Olivia Newton John and Elton John who were selling more British singles in the United States than Jigsaw were. Yet Jigsaw were still under the radar in most of the UK.

Despite their single Sky High climbing most of the world's music charts it was largely ignored by the British music press. A fate, the band said at the time, that had been happening to them for the past seven years.

Admittedly it had taken a monster, all action, Kung Fu film to put things right.

'The Man From Hong Kong' had given this four man Midland group the recognition that they had been after for so long.

'It's quite a story how we came to record the theme music' said Clive Scott the band's then 25 year old keyboard player and co-writer.

'The film had been completed but the distributors had wanted a pop single to go with the picture to help publicise it and MCA didn't think the existing theme music was strong enough'.

'Both David Essex and The Four Tops were approached but due to contractual difficulties they couldn't do it and it was nearing the time for the films release'.

'We were asked to write and record the music and we had only three days to get it all together. We made demos of two songs and the next day recorded Sky High' he added.

But this isn't Clive's first success as a songwriter. With partner Des Dyer, who was Jigsaw's drummer and lead vocalist they were responsible for Candlewick Greens hit 'Who do you Think you are' which also made waves in the American top ten by way of Bo Donaldson and the Haywoods.

'Though we just finished our fifth album and have been together since 1968 you would be surprised what one hit single can do' said Dyer.

Jigsaw had quite a following in Coventry and Warwickshire area and often played Mr Georges Club in the city centre. However during one gig, and with increasing interest in the band, by 1975, the doors were closing early as the venue quickly reached full capacity. With that particular gig being midweek this was an uncommon event.
Des Dyer continued 'it doesn't matter how long you have been around without getting that illusive hit you've never made it. Whereas we thought everyone in our home town had heard of us it appeared there were thousands that hadn't'

Lead guitarist Tony Campbell took up the story. 'We're obviously being offered bigger and better concert gigs now that we have had a hit record. We are fully booked up until Christmas and we plan to play all those dates and not let any drop'.

'Though we were clever enough to have a rider in the contract that if the disc was a hit and we had to go over to America to promote it then we would' adds the bands remaining member, bass player, Barrie Bernard. 'Of course, when we get back we will honour any outstanding gigs'.

That American visit was due at the end of November. Though Jigsaw will be doing two major concerts a tour has not yet been set up. It'll be a short promotional visit to help Sky High get nearer to that number 1 spot.

And then during December it's off to Australia where the record has got to that covered top spot already.

'Something I've always wanted to do is spend Christmas Day on Bondi Beach and now we will be doing it' says Tony.

So after seven years since Jigsaw were put together have the group achieved what they set out to get?

'Far from it', interjected Tony. 'Those seven years were only an apprenticeship and it doesn't matter how successful this record is we are very ambitious and want any future discs to be even more successful. And we are optimistic that we can do it'.

'You see, we have an original sound' continued Clive. 'Its certainly not rock like say Led Zeppelin but neither is it pure pop. We are hoping people will judge us in the same category as the likes of Bread'.

'Seven years together has its advantages' adds Des. We already have a very visual stage act worked out which includes exploding cabinets and......

At that point Barrie hushed him up in case he gave too much away.

Coventry Theatre - One Week in 1974

 Coventry Theatre - One Week in 1974

by Pete Clemons

It seems mind blowing when thought about nowadays but it really did happen. Just over 50 years ago, during November 1974 two, then future iconic bands, Queen and Sparks, visited the city over consecutive weekends. Neither band could claim to be the behemoths that they became but, nevertheless, these groups were still top drawer attractions. But here they were at Coventry Theatre as part of a series of Sunday evening attractions.

As time went on both bands broadened their horizons, moving away from a more conventional rock and roll base to creating more quirky anthemic and a sophisticated style of music that attracted a wide range of fans. Rock music with a twist if you like. Both bands were never content to sit on their laurels. They were incredibly forward thinkers.

According to a review that accompanied the Sheer Heart Attack LP that they were touring, 'Queen were now one of the most popular bands around. With this LP they prove their maturity with a melodic ever changing album that runs the whole gamut of pop'.

And it was true as Queen brought with them an energy and a very rich and powerful performance. They were lauded at the time for their high-quality audio and visuals, particularly by early Queen fans, and this highlighted their early hits and heavy guitar rock style.

The concert includes iconic tracks like 'Keep Yourself Alive', 'Now I'm Here', 'Killer Queen', and 'Seven Seas of Rhye'. The gig showcasing their early sound. There was fire and passion by way of Freddie Mercury's vocals and Brian May's guitar solos shining and, of course, a dynamic rhythm section.

Speaking after the tour Brian May mentioned, 'we knew songs like Killer Queen would be a hit because its got going on in it. Freddie is very fond of cabaret so we all got into that on Killer Queen. But I don't think that's the way the band is going. We are going in lots of different directions at once'.

Sparks' live performances in 1974 were a unique blend of musical innovation and theatrical flair, characterized by their quirky stage presence and distinctive sound. The band, led by the Mael brothers, Ron and Russell, gained significant popularity with the release of their album Kimono My House released earlier during 1974, and their live shows reflected this shift towards a more mainstream audience.

Ron and Russell Mael, particularly, stood out with their distinctive appearances. Ron's Chaplinesque moustache and serious demeanour, while Russell's energetic bouncing and androgynous style, created a striking contrast that captivated audiences.

Sparks' music, though influenced by glam rock, incorporated elements of art rock, pop, and even disco, setting them apart from many of their contemporaries.

Their breakthrough hit 'This Town Ain't Big Enough for Both of Us' and the album 'Kimono My House' propelled them into the UK charts, leading to a surge in popularity and larger live venues.

Propaganda album had just been released to glowing reviews. 'If you liked Sparks last album [Kimono my House] then you will certainly go a bundle on Propaganda because where Kimono lacked depth, grace and musical fluency, Propaganda flows, reels and rolls with all the daring audacity of a Moulin Rouge stripper' said one.

Both albums mentioned offers a valuable glimpse into Sparks' live sound in their mid-70s prime, especially given the band's influential status

Finally, and for completeness and balance, the remainder of those November's Sunday concerts at Coventry Theatre was completed by Ray Conniff, The Syd Lawrence Orchestra and Jack Jones.