The Sorrows 1965

 

The Sorrows 1965

by Pete Clemons

I love reading old record reviews. The phrases and the use of words back then does brig a smile to the face. I recently found a few relating to The Sorrows. They cover the first three singles the band released during 1965. The first two records barely dented the UK singles chart. But the third, 'Take a Heart', achieved a degree of success which got the band more nationally known.

1965 was clearly an important year for The Sorrows. The first review, which is more of an overview, introduced the band to the wider listening public. It explains who is who and who plays what. Along with a little bit of background information.

'Send The Sorrows to Coventry and they wont mind at all. It's actually their home town. And incidentally, the five lads have nothing to be sorrowful about, following their debut disc, 'I Don't Wanna Be Free', on Pye Piccadilly. Big sound. Big beat. The quintet have been together only since March 1964. But they were individually with other groups earlier. The mates line up: Philip 'Pip' Whitcher, 21, motor racing fan and future restaurant owner: Philip Packham, bass, 19, young gent who started at 13 with a group, The Vampires: Bruce Finley, drummer, 20, member of a pipe band at 15, former bus conductor: Wez Price, rhythm guitarist, 19, started on banjo at 11, one time aircraft factory worker: Don Maughn, singer, 23, formerly a group manager who stood in one night for the vocalist.....and founder member with Pip of The Sorrows. Don, by the way, say's he'd like to own a 36 bedroomed house with a swimming pool. Agent Drew Harvey really hauled them out of a bad spot in their career, sent them to Germany for a month......then got them their Pye record contract on their return. They swing. Nothing sad about The Sorrows'.


Baby / Teenage Letter:

'A very jerky item, which seems to take ages to get off the ground – at first hearing anyway. But the tempo picks up after about eight bars and routines into a steady beater. At least it's different!. Nice backing'.

Baby......

Teenage Letter.....

I Don't Wanna Be Free / Come With Me

'Good husky lead vocal on a minor rave up. Guitar, strangulated in sound, dominant bass figures, and answering phrases. This is a saleable commodity, though it could get lost in the rush. OK for a fast dance up'.

Take A Heart / We Should Get Along Fine:

'Coventry's Sorrows have come up with a moody, sinister piece dominated by bass guitar and drum figures. The excitement builds and, given the right plugs, this could make it'.


Another review for 'Take a Heart' said........


'The Sorrows inject a compulsive beat into 'Take a Heart'. Drums and bass guitar support the quietly throbbing opening, then in come the twangs. The boys also wrote the forceful unison-vocal, beat-ballad 'We Should Get Along Fine'.


By mid 1966 both Don and Phil had left The Sorrows. The band re-grouped, re-shuffled, brought in Roger Lomas, and headed off to Italy for stadium tours.

I Don't wanna Be Free....

Come With Me....

Take a Heart ...

We Should get Along Fine...

The Pink Floyd 1966

 

The Pink Floyd 1966

by Pete Clemons

The music media world has been gradually gearing up for Dark Side of the Moon's 50th birthday. Released in 1973 it is a wonderful record that has stood the test of time. Some may remember that this momentous album, albeit in it's then working format, was performed in Coventry a year or so before it's official release. Having written a blog on that event, several years ago, I decided to mark 'Dark Sides' half century by putting a few words together as to how The Pink Floyd first had their break.

First, you need to go back to 1965 when an office called the London free school was formed. It focused on changing society. I guess it was more an ideology. It was a middle class attempt to help the working class. Helping people with benefits and rights, that kind of thing. It was a mix of individuals and the school was based in Notting Hill area. Those individuals included Pete Jenner, who later became Pink Floyd's manager, record producer Joe Boyd and John Hopkins, a visionary.

In order to survive the free school needed money. To get money the school organised events, such as carnivals, in order to bring in much needed cash. Some of those events were sometimes known as UFO's. One fund raising event to be held in a church hall during 1966, and requiring a band, became an early gig for The Pink Floyd.

The Pink Floyd were Syd Barrett guitar and principle song writer, Roger Waters on bass, Richard Wright on keyboards and Nick Mason on drums. Syd and Roger had developed ideas as 13/14 year old's. An even earlier friend, David Gilmour, had taught Syd the basics of guitar playing at an even younger age.

Syd was particularly was creative. He was enchanting, good looking and had an aura about him that left you never truly understanding where or what was in his mind. Syd went down to London and hooked up with his friends who were, by now, there for study and had also flirted with other bands.

Syd had a bounce in his step. Walked on his toes. And he brought that bounce to way he lived. He was 'very Tigger like' according to Roger Waters. Roger also mentioned that Syd 'knew who the band 'Love' were, whereas I couldn't give a shit. He was a rock n roll student'.

Nick Mason, who had hooked up with Roger and Rick at art school, said 'Syd was nice guy. He did all the creative work. He was easy to work with. He provided the songs. But he was not a director. Everyone else did what they thought was right for the beat'.

Rick Wright articulated it all. Nick and Roger, helped create a rhythmic thing, but also had a good time and seemingly enjoyed the rock 'n' roll lifestyle.

Pete Jenner had seen The Pink Floyd play, at an afternoon gig, at the Marquee club sometime during mid 1966. At that time the band were basically playing jams to very primitive lights shows. Syd Barrett and Rick Wright led the wall of sound. The Pink Floyd also played with lots of reverb, repeat echo.

Late 1966 saw the UFO club become a permanent UFO establishment. Based on Tottenham Court Road, London, it quickly became the centre of the underground scene. The light shows were being improving as the innovators had now moved on to oils on glass. The psychedelic thing had not yet reached the general public. And few attendees left the club before sun came up.

The Pink Floyd were established as the house band. A typical gig involved lights projected onto the band so they became difficult to see. They were anonymous makers of sound.

According to Roger Water, who is more succinct about it all, they were essentially 'a blues band with a weird noise behind them. Rather than 3 minute songs they stretched things out to 7 minutes. They played simple riffs. A riff twice at beginning, don't change chords, then play free form over minor chord, then 2 riffs at the end. It was all very improvisational'.

As a song writer Syd Barrett was original and wonderful. He was avant garde but also had a rock 'n' roll edge. He would detune his guitar. Syd had the sensibility of that time.

Roger Waters has said that he 'cannot really remember the underground scene. I certainly do not remember anything fundamentally revolutionary. I am very blasé about it. We had a management that promoted us. The Pink Floyd were there and were available'.

The Pink Floyd recorded their first single, 'Arnold Layne' with Joe Boyd. It was released in 1967. Of their material, it was one of the more suitable. For the purposes of air play the single had to be a more radio friendly 3 minute song. Giving what the band were becoming more well known for Nick Mason mentioned it as 'a real surprise when single was released'.

Another fundraising event which featured The Pink Floyd was the 14 Hour Technicolour Dream event held at London's Alexandra Palace. This was organised by Barry Miles and put together to raise funds for his International Times (IT) magazine. Pink Floyd's now legendary performance began as new dawn was coming up.

The stage was built 6 feet high so all crowd could see all the acts. An eye witness said it was astonishing and very powerful as the early morning light glanced onto Syd's silver guitar. Once more the band played a series of long improvisations. Roger Waters thinks that the band had played in Holland previous evening and went straight to the Ally Pally from the airport.

What, for many, was a legendary, almost spiritual event was again played down by Roger Waters. 'We entertained the crowd by twiddling knobs on a beat frequency oscillator. A tone generator'. Incidentally, the technicolour dream event was bookended by gigs in Rugby and Coventry.

It was at this time, though, that Syd Barrett was beginning to struggle. Before 1967 was out The Pink Floyd were beginning to fall apart. But recover they did and, several years later, they created the timeless Dark Side of the Moon.

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.

The Milano Coffee Bar – The Midlands 2 I's.......

 

The Milano Coffee Bar – The Midlands 2 I's.......

By Pete Clemons

A follow on from an earlier article by Pete Clemons here

https://coventrygigs.blogspot.com/2013/07/coventrys-rock-n-roll-cafes.html

Certainly located on the Radford Road and on, I believe, the site now occupied by the Zorbas Greek restaurant was once the Milano Coffee Bar.

This unassuming building was, for a short while, a hub for teenage music fans. 'Calling all pop fans' it once cried out 'We have pleasure in announcing the formation of a rock club where you can meet all your favourite pop stars'.

The Milano even billed itself as The Midlands 2 I's. It used to advertise itself regularly as 'the cafe bar with a difference'. The place even had a house group named after it, 'The Milano Rockers'.

The Milano certainly had a very lively music scene with regular live appearances by bands like Ronnie Wilde and the Wildcats, Clive Lea and the Phantoms, The Zodiacs, The Vampires and The High Cards.

But where this café would really excel was when, for example, a name artist was visiting the city. The Milano would get them to appear at their venue during that afternoon prior to the main gig that they had been in the city to play.

This happened, for example, when Georgie Fame was due to play an evening show at The Rialto and when Johnny Gentle played at The Banba Club. I understand that this happened on several other occasions. Others who visited the venue included Lance Fortune, Paul Raven and Johnny Kidd and the Pirates.

Possibly though, the venues greatest coup was when, during January 1960, Eddie Cochran called in at The Milano after a show. Along with Gene Vincent, Vince Eager and others Eddie had appeared at The Gaumont, (now known as the Ellen Terry building) earlier on.

Coventry drummer Nigel Lomas, who has such a sharp and accurate memory, was in attendance at The Milano that night and had mentioned this extraordinary tale to me on more than one occasion.

Not that I ever doubted him, but Nigel’s story, has been emphatically endorsed by an interview with, the then, Vikings lead singer Terry Wallace in the excellent ‘Brum Rocked’ book. Terry and the band were playing in the Milano that very same night.

During the interview Terry spoke very specifically about when The Vikings had been playing in a Coventry coffee bar the day that Eddie and Gene were in the city. Coincidentally, Terry mentions, that The Vikings had just performed a Cochran song, ‘Twenty Flight Rock’. During the song Terry had become aware of a guy just staring at him.

At the end of the song the same guy cheered loudly. Terry then recognised him as being Eddie Cochran and with him was both Gene Vincent and guitarist Big Jim Sullivan.

The Vikings were just one of several Birmingham bands that played the Milano during 1960 and 1961. Also making their way down the A45 came El Riot and the Rebels and Danny King and the Royals. Both of these groups found their way onto the German circuit with each performing at the Top Ten Club in Hamburg.

Danny King, despite his own personal lack of a major success, has always been held in high esteem in the Birmingham area. Members of his bands always had the chance to nurture themselves and several did go on to greater things such as Trevor Burton and Clint Warwick.

For the El Riot and the Rebels gig, I am almost certain in saying that future Moody Blues members, Ray Thomas and John Lodge, were members of El Riot at that time and would also have graced the Milano.