Colour Supplement, early 1967, from left: George, Paul, Phil, Ricky and Pete
from left: George, Paul, Mike, Rick and PhilThe Colour Supplement were a Staffordshire, UK band formed around 1965/1966 as The System by keyboard player George Glover and bass player Paul Stevenson with guitarist Gerald Brooks and drummer Ricky Ballan. By early 1967, Pete Wainwright had succeeded Brooks and Phil Tunstall had come in on lead vocals.
In October 1967, Mike Nixon took over from Pete Wainwright on guitar. Nixon had previously been lead singer with The Gospel Truth, which also featured future Climax Blues Band members Colin Cooper, Peter Haycock, Arthur Wood and John Cuffley.
Within days of his joining, The Colour Supplement got the opportunity to tour Sweden on a 14-day tour and shared two shows with Hedgehoppers Anonymous before doing further dates with the Troggs.
Back in England, the band briefly gigged around the Stoke-on-Trent area before landing a three-week stint at the Star Club in Hamburg in November where they met Ritchie Blackmore, who sat in on several occasions.
The Colour Supplement then headed to Cologne for two weeks to play the Storyville Club, followed by another fortnight at the Frankfurt Storyville Club.
A second tour of Sweden in April-May 1968 was a disaster. In December, Tunstall was tempted away with an offer to join a new version of Hedgehoppers Anonymous.
The band continued briefly as a four-piece but then brought in a singer called Hutch (aka Bernard Hutchinson). The group underwent further changes in the 1970s and worked with singer/songwriter David Parton (aka Des Parton), who later achieved songwriting success with Sweet Sensation, penning the UK #1 with ‘Sad Sweet Dreamer’. He also had a UK top 5 hit with a cover of the Stevie Wonder song, ‘Isn’t She Lovely?’
Glover later joined The Climax Blues Band and still plays with them to this day.
Thank you to George Glover, Mike Nixon and Paul Stevenson for passing on details about The Colour Supplement and to Joe Toriati for the photos of this band.
Site of the Ealing Jazz Club, photo taken December 2010
The Ealing Jazz Club (or the Ealing Club as it was more commonly known) was one of London’s most historically important music venues during the 1960s. Situated below the ABC bakery, opposite Ealing Broadway station, in the leafy West London suburb of Ealing, the club became renowned as London’s first significant R&B venue when blues enthusiasts Alexis Korner and Cyril Davies’s band Blues Incorporated debuted in March 1962.
Nicknamed the “Moist Hoist” because of the condensation that used to drip down the walls, the club hosted many of London’s most distinguished R&B acts, and in April of that year provided the setting for the first meeting between Messrs.’ Jagger and Richard and Brian Jones, who formed the nucleus of The Rolling Stones, a club regular during 1962 and 1963.
A virtual who’s who of famous British R&B enthusiasts appeared on the club’s tiny stage over the next three years, most notably Blues Incorporated members Jack Bruce and Ginger Baker (who went on to Cream among others); Eric Clapton; Graham Bond; John Mayall; Long John Baldry; Eric Burdon; and Paul Jones, Manfred Mann’s lead singer, to mention just a few names.
Another of London’s top R&B acts The Who performed their first advertised show at the club in November 1964 and played regularly there during the early part of 1965. Jeff Beck’s band The Tridents also graced the club’s stage and, according to Melody Maker, appeared regularly on the Wednesday and Friday night slots during the summer of 1964.
And let’s not forget Dick Taylor, who left an early incarnation of The Rolling Stones to form his own pioneering R&B band, The Pretty Things. Incidentally, future Rolling Stone, Ron Wood was another famous musician who frequented the club with his band, the unforgettable Birds. His brother, the late Art Wood also appeared there, playing with Blues Incorporated and fronting his own band, The Artwoods.
As an R&B hotbed, the club became a magnet for London’s music crowd, drawing in the likes of Rod Stewart; future Jimi Hendrix drummer Mitch Mitchell; Don Craine and the rest of The Downliners Sect; future Faces keys man Ian McLagan, who was working with Twickenham band, The Muleskinners; and future Deep Purple founder Nick Simper, whose early Sixties outfit, The Delta Five were one of the many acts to appear.
Many of the British musicians that either played at the club or witnessed the burgeoning R&B scene emerging from it, took what they had learnt and/or seen to overseas markets as part of the British invasion.
Locals, the late Frank Kennington, who later managed Motorhead, and lead guitarist Mick Liber, whose band Frankie Reid and The Casuals (with future Episode Six drummer John Kerrison among others) had played at the Ealing Club, headed Down Under and formed one of Australia’s finest R&B groups, the original Python Lee Jackson.
Singer Andy Keiller caught many of the acts, including an embryonic Rolling Stones with Carlo Little on drums and Ricky Brown on bass and was so inspired that he headed off to South Africa and subsequently formed The Upsetters in late 1965.
Keiller’s soon-to-be collaborator, Irish guitarist Louis McKelvey and his friend, drummer Malcolm Tomlinson, meanwhile, had played with Jeff Curtis & The Flames, who frequently played at the Ealing Club during its formative years.
After their brief stint together in South Africa, Andy Keiller and Louis McKelvey amazingly reunited in Canada in the late 1960s, founding the experimental band, Influence.
McKelvey subsequently returned to the UK to pick up Malcolm Tomlinson, who’d been working with a pre-Jethro Tull Martin Barre and then headed back to Toronto to form Milkwood, authors of a soon-to-be released LP, recorded with the legendary Jerry Ragovoy at the NYC’s Hit Factory in summer of 1969.
Likewise, many other not so famous musicians who played the Ealing Club went on to produce fascinating music in the burgeoning psychedelic scene. Locals Chris Jackson and Tom Newman fronted R&B band The Tomcats (who also worked as The Thoughts) and later formed one of Britain’s more interesting psych ventures, July, after a stint in Spain.
Jon Field and Tony Duhig were also members of July and had earlier worked with another Ealing Club regular – The Second Thoughts, alongside future Thunderclap Newman, drummer/vocalist Speedy Keen and Patrick Campbell Lyons, who later formed the core of another top psych act, Nirvana.
Jimmy Royal, yet another local talent, was a club regular and fronted one of the area’s most respected bands, The Hawks, which featured former Cliff Bennett & The Rebel Rousers (the recently deceased) guitarist Mick King (real name Mick Borer) and drummer Terry Mabey among others.
And let’s not forget the many obscure bands that got to play at this prestigious club – groups like The Fairlanes, The Four Sounds, Johnnie Harris and The Shades and The Fantastic Soul Messengers.
With many of these great musicians already gone, Garagehangover would like to use this space to encourage musicians, club regulars, promoters and any others with any memories, memorabilia, photos and details of live dates to share this on the site in the comment box below.
Unless otherwise stated, the following (incomplete) gigs listing is from the Middlesex County Times & West Middlesex Gazette, which advertised who played at the Ealing Club in its “Coming Events” section towards the back.
The main exception is 1963 where Melody Maker was the main source for gigs unless otherwise noted.
Thanks to Paul Lucas for The Tridents’ gigs, taken from his diary.
January 1963 (only part of this month has listings)
Friday 11 – The London City Stompers (Harrow Observer & Gazette)
Friday 18 – The Ken Stuart Seven
Tuesday 22 – The Colne Valley Six
Saturday 26 – The Rolling Stones
February 1963 (only part of this month has listings)
Keith Gardiner, rhythm guitar player with Jeff Curtis & The Flames, says his band played the Ealing Club a few times during the early months of 1963
Tuesday 5 – The Rolling Stones
Friday 8 – Blue Cedar Jazzmen (Harrow Observer & Gazette)
Saturday 9 – The Rolling Stones
Friday 15 – Johnny Toogood’s Jazzband (Harrow Observer & Gazette)
Saturday 16 – The Rolling Stones
Friday 22 – Colne Valley Six (Harrow Observer & Gazette)
Saturday 23 – The Rolling Stones
March 1963 (only part of this month has listings)
Friday 1 – Eric Johnson’s Junction Jazz Band
Saturday 2 – The Rolling Stones
According to John Kerrison’s autobiography It Ain’t Rock ‘N’ Roll, The Rolling Stones had a regular Thursday night residency, which Kerrison’s band, Frankie Reid & The Casuals took over. Judging by the dates, it looks more likely that it was a Saturday rather than Thursday night residency.
Friday 8 – Kid Martyn’s Ragtime Band
Monday 11 – The Rockets (Harrow Observer & Gazette)
Saturday 16 – The Rolling Stones (Harrow Observer & Gazette)
Monday 18 – The Rocket Men (Harrow Observer & Gazette)
Friday 22 – Thames City Jazzmen
Saturday 23 – Blues By Six (Harrow Observer & Gazette)
Sunday 24 – Sonny Morris Veterans Jazz Band
Monday 25 – The Rocket Men (Harrow Observer & Gazette)
Friday 29 – Bob Woolley’s Jazz Band
Saturday 30 – The Rolling Stones (Harrow Observer & Gazette)
Sunday 31 – Micky Ashman’s Ragtime Jazz Band
April 1963 (only part of this month has listings)
Monday 1 – The Rocket Men (Harrow Observer & Gazette)
Saturday 13 – The Rolling Stones (Harrow Observer & Gazette)
Monday 15 – The Rocket Men (Harrow Observer & Gazette)
Thursday 18 – Jimmy Royal & The Hawks (Harrow Observer & Gazette)
Saturday 20 – The Rolling Stones (Harrow Observer & Gazette)
Monday 22 – The Rocket Men (Harrow Observer & Gazette)
Thursday 25 – Jimmy Royal & The Hawks (Harrow Observer & Gazette)
Friday 26 – Bob Woolley’s Jazzmen
Saturday 27 – The Rolling Stones (Harrow Observer & Gazette)
Sunday 28 – Mann-Hugg Blues Band (This was the first Ealing Club show by the band that became Manfred Mann)
Monday 29 – The Rocket Men (Harrow Observer & Gazette)
May 1963 (only part of this month has listings)
Friday 3 – The Sidewalk Six and The Phoenix Thumpers
Sunday 5 – The Mann-Hugg Blues Band
Thursday 9 – Jimmy Royal & The Hawks (Harrow Observer & Gazette)
Friday 10 – The Cardinal Jazzmen
Saturday 11 – The Rolling Stones (Harrow Observer & Gazette)
Sunday 12 – The Mann-Hugg Blues Band
Monday 13 – Rock ‘N’ Roll (Harrow Observer & Gazette)
Friday 17 – The Dauphine Street Six
Sunday 19 – The Mann-Hugg Blues Band
Thursday 23 – Frankie Reid & The Casuals (Harrow Observer & Gazette) (Members at this time went on to Python Lee Jackson and Episode Six)
Friday 24 – Douggie Richford’s Jazzmen
Saturday 25 – The Rolling Stones (Harrow Observer & Gazette)
Sunday 26 – The Mann-Hugg Blues Band
Monday 27 – The Running Gate (Harrow Observer & Gazette)
Friday 31 – The Dolphin Jazz Band
June 1963 (only part of this month has listings)
Sunday 2 – The Mann-Hugg Blues Band
Sunday 9 – The Mann-Hugg Blues Band
Tuesday 11 – The Boys and The Henchman (Harrow Observer) (The Boys became The Action; The Henchmen evolved into The Rockin’ Eccentrics – see below)
Thursday 13 – Frankie Reid & The Casuals and Jimmy Royal & The Hawks (Harrow Observer & Gazette)
Friday 14 – The Cardinal Jazzmen
Saturday 15 – Graham Bond (Harrow Observer & Gazette)
Sunday 16 – The Mann-Hugg Blues Band (Harrow Observer & Gazette has them billed as The Blues Brothers but also lists The Chinese Blues and Manhogs)
Monday 17 – The Boys and The Henchmen (Harrow Observer & Gazette)
Thursday 20 – Frankie Reid & The Casuals and Jimmy Royal & The Hawks (Harrow Observer)
Friday 21 – Charlie Gall’s Jazz Band
Saturday 22 – The Graham Bond Quartet
Sunday 23 – The Mann-Hugg Blues Band (Harrow Observer & Gazette bill them as fabulous Rolling Blues Brothers)
Monday 24 – The Henchmen (Harrow Observer & Gazette)
Friday 28 – Bob Wooley’s Jazz Band
Sunday 30 – The Mann-Hugg Blues Band
July 1963 (only part of this month has listings)
Friday 5 – The Renegades (Harrow Observer & Gazette has The Limelights)
Sunday 7 – The Mann-Hugg Blues Band (This was the final gig under this name before switching to Manfred Mann)
Wednesday 10 – The Soundsmen (Harrow Observer & Gazette)
Friday 12 – The Limelights (this band became The Legends)
Wednesday 17 – Mike Forde & The Fortunes (Drummer Lindsay Bex joined The Tridents in January 1964 but left soon after Jeff Beck joined)
Friday 19 – The Limelights
Wednesday 24 – The International Monarchs
August 1963 (only part of this month has listings)
Friday 2 – The Limelights
Wednesday 7 – Alexis Korner’s Blues Incorporated
Wednesday 28 – Blues by Six
September 1963 (only part of this month has listings)
Wednesday 4 – The Graham Bond Quartet
October 1963 (only part of this month has listings)
Saturday 5 – Manfred Mann (First Ealing gig under their new name)
Wednesday 16 – The Bluenotes
November 1963 (only part of this month has listings)
Saturday 9 – Manfred Mann
Saturday 30 – Manfred Mann
December 1963 (only part of this month has listings)
Sunday 1 – The Fantastic Soul Messengers (billed as every Sunday) (Mitch Mitchell played drums at the start alongside sax player Terry Marshall, who was Jim Marshall’s son)
Sunday 8 – The Fantastic Soul Messengers
Saturday 14 – Manfred Mann
Sunday 15 – The Fantastic Soul Messengers
Saturday 21 – Manfred Mann
Sunday 22 – The Fantastic Soul Messengers
Sunday 29 – The Fantastic Soul Messengers
January 1964 (only part of this month has listings)
Saturday 4 – John Mayall’s Bluesbreakers (billed as playing every Saturday)
Friday 10 – The Tridents (Guitarist Leslie Jones joined Four Plus One in August 1964 with former Tridents drummer Ken Lawrence; they became The In Crowd who subsequently morphed into Tomorrow)
Saturday 11 – Possibly John Mayall’s Bluesbreakers (needs confirmation)
Monday 13 – The Tridents
Saturday 18 – John Mayall’s Bluesbreakers
Monday 20 – Mitz Mitton New Orleans Jazz Band (billed as every Monday)
Wednesday 22 – The Tridents
Thursday 23 – Jimmy Royal & The Hawks (Harrow Observer & Gazette)
Saturday 25 – John Mayall’s Bluesbreakers
Sunday 26 – The Soul Messengers (Harrow Observer & Gazette)
Monday 27 – Mitz Mitton New Orleans Jazz Band
Wednesday 29 – The Tridents
Thursday 30 – The Chessmen (Harrow Observer & Gazette) (aka Tony Knight’s Chessmen)
February 1964 (only part of this month has listings)
Saturday 1 – The Soul Messengers (Harrow Observer & Gazette)
Saturday 8 – The Soul Messengers (Melody Maker however lists John Mayall’s Bluesbreakers)
Sunday 9 – Frankie Reid & The Casuals
Monday 10 – Mitz Mitton New Orleans Jazz Band
Wednesday 12 – The Tridents
Wednesday 19 – The Tridents
Wednesday 26 – The Tridents
March 1964 (only part of this month has listings)
Wednesday 4 – The Tridents
Friday 6 – R&B group
Photo: Harrow Observer & Gazette
Wednesday 11 – The Tridents
Friday 13 – R&B group
Wednesday 18 – The Tridents
Thursday 19 – Top West London groups (Harrow Observer & Gazette)
Saturday 21 – Jimmy Williamson Trio (Harrow Observer & Gazette)
Sunday 22 – The Soul Messengers (Harrow Observer & Gazette)
Monday 23 – Mitz Mitton New Orleans Jazz Band (Harrow Observer & Gazette)
Wednesday 25 – The Tridents
Thursday 26 – Jeff Curtis & The Flames (Ruislip & Northwood Gazette) (Members at this point went on to The Manchester Playboys, Influence and The Penny Peeps among others)
Friday 27 – The Tridents
Saturday 28 – John Mayall’s Bluesbreakers (Ruislip & Northwood Gazette)
Sunday 29 – The Soul Messengers (Ruislip & Northwood Gazette)
Monday 30 – Mitz Mitton New Orleans Jazz Band
April 1964
Wednesday 1 – The Tridents
Thursday 2 – Jeff Curtis & The Flames
Friday 3
Saturday 4 – John Mayall’s Bluesbreakers
Sunday 5 – The Soul Messengers
Monday 6
Tuesday 7
Wednesday 8 – The Tridents
Thursday 9 – Geoff Cortez & The Flame (This is Jeff Curtis & The Flames) (Harrow Observer & Gazette)
Friday 10 – R&B group
Saturday 11 – The Soul Messengers (Harrow Observer & Gazette)
Sunday 12 – The Second Thoughts (Harrow Observer & Gazette) (Members went on to Nirvana, Thunderclap Newman, July and Jade Warrior)
Monday 13 – Mitz Mitton New Orleans Jazz Band
Tuesday 14
Wednesday 15
Thursday 16 – Geoff Cortez & The Flame (sic) (this is Jeff Curtis & The Flames)
Friday 17
Saturday 18 – The Mark Leeman Five (Harrow Observer & Gazette) (Members went on to The Nice, Gass and Herbie Goins & The Night-Timers among others)
Sunday 19 – The Second Thoughts
Monday 20 – The Casuals (Most likely Frankie Reid & The Casuals) (Melody Maker lists Mitz Mitton New Orleans Jazz Band on Monday, 20 April)
Tuesday 21
Wednesday 22
Photo: Harrow Observer & Gazette
Thursday 23 – Jeff Curtis & The Flames (Harrow Observer & Gazette)
Friday 24
Saturday 25 – John Mayall’s Bluesbreakers (Harrow Observer & Gazette)
Sunday 26 – The Second Thoughts
Monday 27 – The Casuals (Most likely Frankie Reid & The Casuals)
Tuesday 28
Wednesday 29 – The Tridents
Thursday 30 – Jeff Curtis & The Flames
May 1964
Friday 1
Saturday 2 – John Mayall’s Bluesbreakers
Sunday 3 – The Fabulous Second Thoughts (This is The Second Thoughts)
Monday 4
Tuesday 5
Wednesday 6 – The Tridents
Thursday 7 – Jimmy Royal & The Hawks (aka James Royal & The Hawks)
Friday 8 – R&B group
Saturday 9 – The Mark Leemen Five
Sunday 10 – The Second Thoughts
Monday 11 – The Soul Messengers (Mitch Mitchell left before the band became The Next 5 in the summer. After playing a gig with The Rockin’ Eccentrics in Portsmouth, he formed The Riot Squad)
Tuesday 12
Wednesday 13 – The Tridents
Thursday 14 – Jimmy Royal & The Hawks (aka James Royal & The Hawks)
Friday 15
Saturday 16 – The Mark Leemen’s Five (aka Mark Leemen Five)
Sunday 17 – Fabulous Second Thoughts (This is The Second Thoughts)
Monday 18 – The Hobos
Tuesday 19
Wednesday 20
Thursday 21 – Jimmy Royal & The Hawks (aka James Royal & The Hawks)
Friday 22
Saturday 23 – The Mark Leemen Five
Sunday 24 – The Second Thoughts
Monday 25 – The Hobos
Tuesday 26
Wednesday 27
Thursday 28 – Jimmy Royal & The Hawks (aka James Royal & The Hawks
Friday 29 – The Tridents
Saturday 30 – The Mark Leemen Five
Sunday 31 – The Second Thoughts
June 1964
Monday 1 – The Hobos
Tuesday 2
Wednesday 3 – The Tridents
Thursday 4 – Manfred Mann
Friday 5 – The Tridents
Photo: Harrow Observer & Gazette
Saturday 6 – The Mark Leemen Five
Sunday 7 – The Second Thoughts
Monday 8 – The Hobos
Tuesday 9
Wednesday 10 – The Tridents
Thursday 11 – Manfred Mann (Harrow Observer & Gazette has Frankie Reid & The Casuals)
Friday 12 – The Preachers (Terry Clark and Andy Bown went on to original line up of The Herd)
Saturday 13 – The Mark Leemen Five (This might have been The Tridents; Harrow Observer & Gazette lists the latter)
Sunday 14 – The Second Thoughts
Monday 15 – The Hobos
Tuesday 16
Wednesday 17 – The Tridents
Thursday 18 – Frankie Reid & The Casuals (Members at this point went on to Python Lee Jackson and Episode Six among others)
Friday 19 – The Fairlanes
Saturday 20 – The Tridents (Harrow Observer & Gazette lists The Mark Leeman Five)
Sunday 21 – The Second Thoughts
Monday 22 – The Hobos
Tuesday 23
Wednesday 24 – The Tridents
Thursday 25 – Frankie Reid & The Casuals
Friday 26 – Gene & The Cossacks
Saturday 27– The Mark Leemen Five
Sunday 28 – The Second Thoughts
Monday 29 – The Hobos
Tuesday 30
July 1964
Wednesday 1 – The Tridents
Thursday 2 – Frankie Reid & The Casuals
Friday 3 – R&B group
Saturday 4 – The Mark Leemen Five
Sunday 5 – The Second Thoughts
Monday 6 – The Hobos
Tuesday 7
Wednesday 8
Thursday 9 – Frankie Reid & The Casuals
Friday 10 – The Tridents
Saturday 11 – Mark Lemon (sic) – (This is The Mark Leeman Five)
Sunday 12 – The Second Thoughts
Monday 13 – The Hobos
Tuesday 14
Wednesday 15 – The Tridents
Thursday 16 – Frankie Reid & The Casuals
Friday 17 – R&B
Saturday 18 – Mark Lemon (sic) – (This is The Mark Leemen Five) (Harrow Observer & Gazette has The Second Thoughts)
Sunday 19 – The Second Thoughts
Monday 20 – Gerry Hart & The Heartbeats (This group became The Eyes)
Tuesday 21
Wednesday 22
Thursday 23 – Frankie Reid & The Casuals
Friday 24
Saturday 25 – The Second Thoughts (Harrow Observer & Gazette has The Mark Leeman Five)
Photo: Harrow Observer & Gazette
Sunday 26 – The Second Thoughts (Harrow Observer & Gazette has The Macabre)
Monday 27 – The Hobos
Tuesday 28
Wednesday 29 – The Tridents
Thursday 30 – Frankie Reid & The Casuals
Friday 31 – R&B
August 1964
Saturday 1 – The Mark Leemen Five
Sunday 2 – The Macabre (Guitarist Peter Vernon-Kell had been a very early member of The Who when they were called The Detours. He would go to become an original member of The Hamilton Movement)
Monday 3 – R&B (possibly The Hobos)
Tuesday 4
Wednesday 5 – The Tridents
Thursday 6 – R&B
Friday 7 – Group Four
Saturday 8 – R&B (possibly The Mark Leemen Five)
Sunday 9 – R&B (possibly The Macabre)
Monday 10 – R&B (possibly The Hobos)
Tuesday 11
Wednesday 12 – The Tridents
Thursday 13 – R&B
Friday 14 – The Koalas
Saturday 15 – R&B (possibly The Mark Leemen Five)
Sunday 16 – R&B (possibly The Macabre)
Monday 17 – R&B (possibly The Hobos)
Tuesday 18
Wednesday 19 – The Tridents (Shortly after this gig, the band’s guitarist Leslie Jones left to join Four Plus One/The In Crowd and Mike Jopp covered until Jeff Beck joined in early September)
Thursday 20 – R&B
Friday 21 – The Preachers
Saturday 22 – R&B (possibly The Mark Leemen Five)
Sunday 23 – R&B (possibly The Macabre)
Monday 24 – R&B (possibly The Hobos)
Tuesday 25
Wednesday 26 – R&B
Thursday 27 – R&B
Friday 28 – R&B
Saturday 29 – R&B (possibly The Mark Leemen Five)
Sunday 30 – R&B (possibly The Macabre)
Monday 31 – R&B (possibly The Hobos)
September 1964
Tuesday 1
Wednesday 2 – R&B
Thursday 3 – R&B
Friday 4 – R&B
Saturday 5 – R&B (possibly The Mark Leemen Five)
Sunday 6 – R&B (possibly The Macabre)
Monday 7 – R&B (possibly The Hobos)
Tuesday 8
Wednesday 9 – R&B
Thursday 10 – Frankie Reid & The Casuals (guest star Jimmy Royal) (Harrow Observer & Gazette)
Friday 11 – R&B
Saturday 12 – The Mark Leemen Five (Saturdays)
Sunday 13 – The Macabre (Sundays)
Monday 14 – The Hobos (Mondays)
Tuesday 15
Wednesday 16 – Buddy Britten & The Regents (every Wednesday)
Thursday 17 – Frankie Reid & The Casuals (guest star Jimmy Royal)
Friday 18 – The Preachers
Photo: Ruislip & Northwood Gazette
Saturday 19 – The Mark Leemen Five
Sunday 20 – The Macabre
Monday 21 – The Hobos
Tuesday 22
Wednesday 23 – Buddy Britten & The Regents
Thursday 24 – Jimmy Royal & The Hawks and Frankie Reid & The Casuals
Friday 25 – The Vincents
Photo: Harrow Observer & Gazette
Saturday 26 – The Mark Leemen Five (Harrow Observer & Gazette)
Sunday 27 – John Mayall’s Bluesbreakers and The Mokes (Harrow Observer & Gazette)
Monday 28 – The Macabre (Harrow Observer & Gazette)
Thursday 31 – The Rockin’ Eccentrics and The South West Five
January 1965
Friday 1
Saturday 2 – The Who
Sunday 3 – The Hobos
Monday 4 – The Dee Lobs
Tuesday 5
Wednesday 6 – Alexis Korner
Thursday 7 – The Rockin’ Eccentrics (Ruislip & Northwood Gazette)
Friday 8 – The Heart & Souls (According to Ken Samuels, this was possibly with Flight One)
Saturday 9 – The Who
Sunday 10 – The Mark Leemen Five
Monday 11 – The Dee Lobs
Tuesday 12
Wednesday 13 – Alexis Korner
Thursday 14 – The Rockin’ Eccentrics
Friday 15 – Beau & The Odd Lot
Saturday 16 – The Ray Martin Group (Terry Marshall, Jim’s Marshall’s son was a member)
Sunday 17 – The Mark Leemen Five
Monday 18 – The Dee Lobs
Tuesday 19
Wednesday 20 – Alexis Korner
Thursday 21 – The Rockin’ Eccentrics
Friday 22 – Just Memphis
Saturday 23 – The Ray Martin Group
Sunday 24 – The Mark Leemen Five
Monday 25 – The Dee Lobs
Tuesday 26
Wednesday 27 – Alexis Korner
Thursday 28 – The Rockin’ Eccentrics
Friday 29 – The Nature Boys
Saturday 30 – The Who
Sunday 31 – The Ray Martin Group
February 1965
Monday 1 – The Dee Lobs
Tuesday 2
Wednesday 3
Thursday 4 – The Rockin’ Eccentrics (and Jimmy Royal & The Hawks?)
Friday 5 – Wainwright’s Gentlemen (Ian Gillan on lead vocals) and The Unit 5
Saturday 6 – The Ray Martin Group
Sunday 7 – Group Competition – 5 Top Groups!
Monday 8 – The Dee Lobs
Tuesday 9
Wednesday 10 – Unit 5 (Harrow Observer & Gazette)
Photo: Melody Maker
Thursday 11 – The Who (Billed as “The Who London 1965” for next four Thursdays)
Friday 12 – The Miston Tuac
Saturday 13
Sunday 14 – The Mark Leemen Five
Monday 15 – The Rockin’ Eccentrics
Tuesday 16
Wednesday 17 – The Blue Ravens
Photo: Melody Maker
Thursday 18 – The Who
Friday 19 – The Beaux Oddlot (aka Beau & The Odd Lot)
Saturday 20 – The Ray Martin Group
Sunday 21 – The Mark Leemen Five
Monday 22 – The Rockin’ Eccentrics
Tuesday 23
Wednesday 24 – The Blue Ravens
Photo: Harrow Observer & Gazette
Thursday 25 – The Who
Friday 26 – Just Memphis
Saturday 27 – The Ray Martin Group
Sunday 28 – The Mark Leemen Five
March 1965
Monday 1 – The Birds
Tuesday 2
Wednesday 3 – The Blue Ravens
Thursday 4 – The Who
Friday 5 – The Nature Boys
Saturday 6 – The Mark Leemen Five
Sunday 7 – The Ray Martin Group
Monday 8 – The Birds
Tuesday 9
Wednesday 10 – The Blue Ravens
Photo: Harrow Observer & Gazette
Thursday 11 – The Birds
Friday 12 – The Blue Ravens
Saturday 13 – The Ray Martin Group
Sunday 14 – The Fetish Crowd
Monday 15 – The Birds
Tuesday 16
Wednesday 17 – The Who
Thursday 18 – The Birds (Harrow Observer & Gazette) (Confirmed by Ron Woods’ book)
Friday 19 – The Clique
Saturday 20 – The Five Dimension (The Stormsville Shakers are also listed for this date)
Sunday 21 – The Mark Leemen Five
Monday 22 – The Just Four
Tuesday 23
Wednesday 24 – The Who
Thursday 25 – The Birds
Photo: Harrow Observer & Gazette
Friday 26 – The Who and The Fetish Crowd
Saturday 27 – The Ray Martin Group
Sunday 28 – The Mark Leemen Five
Monday 29 – The Just Four
Tuesday 30
Wednesday 31 – The Maroons (This band may have backed Wilson Pickett on a British tour)
April 1965
Thursday 1 – The Maroons (Harrow Observer & Gazette)
Friday 2 – The Clique
Saturday 3 – The Mark Leemen Five
Sunday 4 – The Ray Martin Group
Monday 5 – The Just Four
Tuesday 6
Wednesday 7 – The Fetish Crowd
Thursday 8 – The Maroons
Friday 9 – The Clique
Saturday 10 – The Mark Leemen Five
Sunday 11 – The Shondells
Monday 12 – The Dee Lobs and Mike Dee & The Prophets
Tuesday 13
Wednesday 14 – The Fetish Crowd
Thursday 15 – The Maroons
Friday 16 – The Clique
Saturday 17 – The Footprints
Sunday 18 – The Ray Martin Group
Monday 19 – The Rakes
Tuesday 20
Wednesday 21 – The Fetish Crowd
Thursday 22 – The Birds
Photo: Harrow Observer & Gazette
Friday 23 – The Clique
Saturday 24 – Mark Leemen Five
Sunday 25 – The Ray Martin Group
Monday 26 – The Tramps
Tuesday 27
Wednesday 28 – The Fetish Crowd
Photo: Harrow Observer & Gazette
Thursday 29 – The Birds
Friday 30 – The Eccentrics
May 1965
Saturday 1 – The Mark Leemen Five
Sunday 2 – The Tribe (Guitarist Frank Torpey became the original guitarist in The Sweet; bass player Dennis Cowan joined The Bonzo Dog Doo Dah Band)
Monday 3 – The Tramps
Tuesday 4
Wednesday 5 – The Fetish Crowd
Thursday 6
Friday 7 – The Maroons
Saturday 8 – The Ray Martin Group
Sunday 9 – The Rakes
Monday 10 – The Tramps
Tuesday 11
Wednesday 12 – The Fetish Crowd
Thursday 13 – The Tribe (Harrow Observer & Gazette has The Fetish Crowd)
Friday 14 – The Birds
Saturday 15 – The Ray Martin Group
Sunday 16 – The Rakes
Monday 17 – The Tramps
Tuesday 18
Wednesday 19 – The C C Riders
Thursday 20 – The Fetish Crowd
Friday 21 – The Eccentrics
Saturday 22 – The Ray Martin Group
Sunday 23 – The Tribe
Monday 24 – The Rakes
Tuesday 25
Wednesday 26 – The C C Riders
Thursday 27 – The Fetish Crowd
Friday 28 – The Birds
Photo: Harrow Observer & Gazette
Saturday 29 – The Ray Martin Group
Sunday 30 – The Initial Four
Monday 31 – The Tribe
June 1965 (only part of this month has listings)
Tuesday 1
Wednesday 2 – The C C Riders
Thursday 3 – The Fetish Crowd
Friday 4 – The Senate IV
Saturday 5 – The Ray Martin Group
Sunday 6 – The Initial Four
Monday 7 – The Blues Dynasty
Tuesday 8
Wednesday 9 – The C C Riders
Thursday 10 – The Fetish Crowd
Friday 11 – The Senate IV
Saturday 12 – The Ray Martin Group
Sunday 13 – The Initial Four
Monday 14 – The Blues Dynasty
Tuesday 15
Wednesday 16 – The C C Riders
Thursday 17 – The Fetish Crowd
Friday 18 – The Tramps
July 1965 (only part of this month has listings)
Thursday 1 – Jeff Curtis & The Flames
Sunday 4 – Initial 4
Saturday 10 – Initial 4
Friday 16 – Rock’ n Breckers (This is The Rick ‘n’ Beckers)
Saturday 17 – Initial 4
Saturday 24 – The Mark Leemen Five
Saturday 31 – The Ray Martin Group
August 1965 (only part of this month has listings)
Friday 6 – The Mark Leemen Five
Saturday 7 – The Ray Martin Group
Friday 13 – James Royal & The Hawks
Saturday 14 – The Ray Martin Group
Sunday 15 – The Rick ‘n’ Beckers (Sundays)
Friday 20 – James Royal & The Hawks
Saturday 21 – The Ray Martin Group
Sunday 22 – The Rick ‘n’ Beckers
Friday 27 – Ricken Beckers (This is The Rick ‘n’ Beckers)
Saturday 28 – The Fab 5
September 1965 (only part of this month has listings)
Friday 3 – The Rick ‘n’ Beckers
Friday 10 – The Rick ‘n’ Beckers
Saturday 11 – The Ray Martin Group
Harrow Observer & Gazette (16 September) says live music every night except Tuesdays
Friday 17 – The Rick ‘n’ Beckers
Saturday 18 – The Ray Martin Group
Harrow Observer & Gazette (23 September) says live music every night except Tuesdays
October 1965 (only part of this month has listings)
Photo: Melody Maker
Wednesday 27 – Brian Green & His Band
Thursday 28 – R&B
Friday 29 – Cabaret Showband
Saturday 30 – The Ray Martin Group
November 1965 (only part of this month has listings)
Wednesday 3 – Brian Green & His Band
Friday 19 – Cabaret Showband
Saturday 20 – The Ray Martin Group
Sunday 21 – Jazz Blues Big Band
Wednesday 24 – Brian Green & His Jazz Band
Thursday 25 – R&B Group
December 1965 (only part of this month has listings)
Photo: Melody Maker
Thursday 9 – The Tribe
Ruislip and Northwood Gazette (10 December) says live music six nights a week
Friday 10 – The Ray Martin Group
Saturday 11 – The Rick ‘n’ Beckers
Sunday 12 – 2/3 Left Jazz Blues
Monday 13 – The Mixed Feelings
Wednesday 15 – The Midnight Blues (or possibly John Hart Quartet)
Thursday 16 – Jeff Curtis & The Flames
Friday 17 – The Ray Martin Group
Photo: Melody Maker
Saturday 18 – The Rick ‘n’ Beckers
Sunday 19 – 2/3 Left Jazz Blues
Friday 24 – The Ray Martin Group
Saturday 25 – The Rick ‘n’ Beckers
Sunday 26 – 2/3 Left Jazz Blues
Friday 31 – The Ray Martin Group
Thank you to Andy Neill for some of the background information on the Ealing Club.
I have tried to ensure the accuracy of this article but I appreciate that there are likely to be errors and omissions. I would appreciate any feedback from anyone who can provide any additions or corrections. Email: Warchive@aol.com
Jeff Curtis & the Flames, circa spring 1963. From left to right: Malcolm Randall, Louis McKelvey, Dave Wigginton, Keith Gardiner, Malcolm Tomlinson and Jeff Curtis
Revised February 2018
Jeff Curtis & The Flames #1 (circa May 1961-May 1962)
Jeff Curtis – lead vocals
Mick Cartwright – lead guitar
Robin “Jesse” James – rhythm guitar
Gary Wheeler – bass
Derek “Dell” Saville – drums
Twickenham born insurance salesman Jeff Curtis (born David Myers; 20 June 1940) had ambitions to be a singer/performer and reportedly put together the original Flames around mid-1961 after singing in a choir.
Little is known about the early Flames. However, according to drummer Dell Saville, Curtis approached him to join a version with three Whitton musicians in mid-1961. These comprised lead guitarist Mick Cartwright, rhythm guitarist Robin “Jesse” James and bass player Gary Wheeler. Curtis ran a short-lived club, the JC Rock Club in the New British Legion Hall on Long Lane, Hillingdon Circus and the musicians played there often, debuting on 26 July 1961. Around May 1962, however, the musicians went their separate ways and Saville joined Ray Dell & The Rocking Deacons. James joined The Downliners briefly.
Advert in Uxbridge Post, 8 November 1961
Curtis started to piece together a new version of The Flames in late 1962/early 1963, starting with Hounslow-based bass player Dave Wigginton (b. 25 February 1943, Isleworth, Middlesex), who held a senior position at an import/export warehouse at London (later Heathrow) Airport during the day, and was working with Twickenham outfit, Johnny & The Pursuers, who played at the JC Rock Club. Thanks to Wigginton’s connections, the new Flames would use the warehouse to rehearse in the evenings. The bass player quickly recommended fellow Pursuers’ guitarist Louis McKelvey (b. 31 October 1943, Killorglin, County Kerry, Eire).
Born above a pub Louis McKelvey came from an artistic background; his mother and father worked in theatre. After boarding at Silverlands House in Chertsey, he attended school in Twickenham, Middlesex, where he was classmates with Don Craine, later of The Downliners Sect fame. McKelvey’s first band was local outfit Johnny & The Pursuers.
Soon after, Curtis recruited rhythm guitarist Keith Gardiner (b. September 1942). In late 1957, when he was 15 years old, Gardiner had befriended 10-year-old drummer John “Mitch” Mitchell at Tudor Rose Youth Club in Southall, Middlesex and had formed a rudimentary band together with guitarist Pete Ross, who subsequently went on to Ealing band, The Flexmen. At the time, Mitchell was attending Jim Marshall’s shop in Hanwell, Middlesex where he was taking drum lessons while Gardiner was taking guitar lessons from top session player, the late Big Jim Sullivan among others.
Wiggington recommended Malcolm Tomlinson (b. 16 June 1946, Isleworth, Middlesex) on drums around December 1962 after seeing him at a local youth club playing with The Panthers. Tomlinson was brought up in Cranford, near London Airport, where his parents worked for British Airways.
A talented musician, who later became a multi-instrumentalist, Tomlinson had attended Spring Grove Grammar School in Isleworth where he was classmates with fellow drummer Mick Underwood, who went on to work with The Outlaws with Ritchie Blackmore among others, and guitarist Tony Bramwell (see later entry). Initially a guitarist, Tomlinson started playing drums in late 1962 and soon proved his natural ability on the kit.
The new formation debuted at Curtis’s Hillingdon club but it soon closed down.
Keith Gardiner says the band opened for The Rolling Stones a couple of times at the Station Hotel in Richmond during February-March 1963 before the club was renamed the Crawdaddy. They also played at the Ealing Club during this period a few times.
Louis McKelvey, Dave Wigginton, Malcolm Tomlinson (partially obscured), Keith Gardiner and Jeff Curtis. Photo: Dave Wigginton
Around March 1963, the musicians completed the new formation with jazz enthusiast, Harrow-on-The-Hill-based sax player Malcolm Randall (b. October 1942, Hendon, Middlesex), who later earned the nickname C B (current bun). Randall’s debut was a gig in Brighton.
Competing with The Rolling Stones, another Ealing Club regular, for local area gigs, Curtis’s band started to travel further afield, including the Whisky A Go Go in Manchester.
During 1963, they backed singer Roly Daniels for a show in Catford in Southeast London.
Wigginton remembers playing a club on Jermyn Street in central London in the early days. He also says the band performed at Chiswick Polytechnic, Wandsworth Polytechnic and Chiswick Town Hall during this period.
After working with a manager who also looked after local group Pete Nelson & The Travellers, Jeff Curtis & The Flames signed to Bob Potter’s agency and started working around the Surrey/Hampshire area, including the Agincourt Ballroom in Camberley.
During this time, they opened for Freddie & The Dreamers at Botwell House in Hayes, Middlesex and Cliff Bennett & The Rebel Rousers at Kew Boathouse among others.
Jeff Curtis & The Flames #2 (Circa December 1962-December 1963)
Jeff Curtis – lead vocals
Louis McKelvey – lead guitar
Keith Gardiner – rhythm guitar, backing vocals
Malcolm Randall – saxophone (joined around March 1963)
Dave Wigginton – bass
Malcolm Tomlinson – drums/backing vocals
Jeff Curtis & The Flames, Walthamstow, north London, January 1963. Interestingly Jeff Curtis is playing the piano. This was before Malcolm Randall joined.
On 1 June 1963, Jeff Curtis & The Flames played their most high-profile gig to date, appearing with a number of local West London bands on the “Rock Twist Jive Channel Crossing”, a rock extravaganza that took place on-board the Channel ferry, the M V Royal Daffodil, which sailed from Southend, Essex to Boulogne. The billing included Tomlinson’s future band leader, Fulham-based singer Jimmy Marsh and his former Spring Grove class mate, Mick Underwood who was playing with The Outlaws and backing the show’s headline act, Jerry Lee Lewis.
Jeff Curtis & the Flames, 1963. Photo courtesy of Keith Gardiner. Left to right: Louis McKelvey, Keith Gardiner, Jeff Curtis, Malcolm Tomlinson, Dave Wigginton and Malcolm RandallJeff Curtis & the Flames, 1963. From left: Keith Gardiner, Louis McKelvey, Malcolm Tomlinson, Malcolm Randall, Dave Wigginton and Jeff Curtis (front)Poster for the Channel Crossing, 1 June 1963. Image courtesy of Keith Gardiner
On 4 October 1963, Jeff Curtis & The Flames were given the opportunity to record some demos. The band (minus Malcolm Randall) cut a four-track acetate at Lansdowne Recording Studios on Lansdowne Road in Holland Park, which comprised covers of Chuck Berry’s “Bye Bye Johnny” and “It Don’t Take But A Few Minutes” (with Lenny Hastings on drums); Robert Allen and Richard Adler’s “Everybody Loves a Lover”; and Bobby Troup’s “Route 66”.
Two tracks were allegedly readied for release as a single for HMV but when this did not happen, Gardiner departed and dropped out of the music scene, although he did briefly sub for Ken Lundgren in The Outlaws at a few gigs.
Years later he formed his own band The Keith Gardiner Band (KGB), which performed around the Shepperton, Middlesex area.
Acid Jazz Records subsequently used one of the recordings for its Rare Mod CD series.
Notable gigs:
Photo: Walthamstow GuardianPhoto: Dave Wigginton. The Flames at Walthamstow Assembly Hall, January 1963
19 January 1963 – Walthamstow Assembly Hall, Walthamstow with The Gallions and Paul & The Alpines (billed as The Flames)
9 March 1963 – Hillingdon Club, Sevenoaks, Kent
Photo: Harrow Observer
20 March 1963 – British Legion Hall, South Harrow, Middlesex
Photo: Surrey Comet
3 May 1963 – St Peter’s Hall, Kingston Upon Thames, Surrey with The Sinners (billed as The Flames) First time in Kingston
Photo: Woking Herald
10 May 1963 – Weybridge Hall, Weybridge, Surrey
1 June 1963 – Rock Twist Jive Channel Crossing with Jerry Lee Lewis & The Outlaws, The Four Whirlwinds, The Del-Lormes, Johnny Angel, Nero & The Gladiators, Dane Robert, Vicki Rowe, Ricky Valance, The Fabulous Fleerekkers, Colin Chapman and Jimmy Marsh
Photo: Surrey Comet
14 June 1963 – St Peter’s Hall, Kingston Upon Thames, Surrey with Tony Clayton & The Impalas (billed as The Fabulous Flames with saxophone backing)
20 July 1963 – Walton Hop, Walton-on-Thames, Surrey
At Silver Blades Ice Rink, The Streatham News, August 2, 1963
2-3 August 1963 – Silver Blades, Streatham, London
28 September 1963 – Agincourt Ballroom, Camberley, Surrey with Allen & The Blue Diamonds (billed as The Flames) According to Keith Gardiner who is in touch with the guitarist from Tommy Bruce’s band, The Flames actually played on 29 September as the opening act
Photo: Walthamstow Guardian
12 October 1963 – Walthamstow Assembly Hall, Walthamstow with Mel James & The Meltones and Jimmy Ritchie Combo (billed erroneously as Jess Curtis & The Flames)
30 November 1963 – Walton Hop, Walton-on-Thames, Surrey
Jeff Curtis & The Flames #3 (December 1963-July 1964)
Jeff Curtis – lead vocals
Louis McKelvey – lead guitar
Ray Soper – organ
Malcolm Randall – saxophone
Dave Wigginton – bass
Malcolm Tomlinson – drums/backing vocals
Jeff Curtis replaced Keith Gardiner with Putney, Surrey-based organist Ray Soper (b. 9 May 1941, Battersea, London), who would play with The Flames on several occasions over the next two years, venturing off to perform with various other local groups. Soper had gone to Sir Walter St John Grammar School in Battersea, south London and started playing classical piano at six years of age. In 1959, when he was 18 years old, Soper began working with local rock groups in the Chelsea area.
Around February 1964, the band did a demo session with Decca Records in West Hampstead but nothing came from it.
After leaving Bob Potter’s agency, Jeff Curtis & The Flames got work with the Roy Tempest agency. The new line up continued to gig widely but Tomlinson started to get bored.
In mid-summer the drummer took up an offer from former Fairlanes lead singer Jimmy Marsh, who he’d met on the cross Channel gig the previous summer, to join his new band, The Del Mar Trio. Tomlinson subsequently went on to play with The Noblemen, The Motivation, The Penny Peeps and Gethsemane before immigrating to Canada in January 1969 and continuing his musical career there. He subsequently worked with the likes of Bill King and Rick James among others and cut two solo albums in the late Seventies.
Notable gigs:
1 February 1964 – Hermitage Ballroom, Hitchin, Herts with The League of Gentlemen and The Dyaks
Photo: Walthamstow Guardian
29 February 1964 – Walthamstow Assembly Hall, Walthamstow with Pat McQueen Combo and The Preachers
Opening for the Rattles, March 14, 1964
14 March 1964 – Starlight Ballroom, Boston Gliderdrome, Lincolnshire with The Rattles (billed as Geoff Curtis & The Flames)
26 March 1964 – Ealing Club, Ealing, Middlesex
2 April 1964 – Ealing Club, Ealing, Middlesex
4 April 1964 – King’s Hall, Aberystwyth, Wales
5 April 1964 – Southall Community Centre, Southall, Middlesex with The Rattles
9 April 1964 – Ealing Club, Ealing, Middlesex
16 April 1964 – Ealing Club, Ealing, Middlesex
23 April 1964 – Ealing Club, Ealing, Middlesex
30 April 1964 – Ealing Club, Ealing, Middlesex
2 May 1964 – Silver Blades, Streatham, London
14 May 1964 – Rocky Rivers Top 20 Club, Conservative Club, Bedford
18 June 1964 – Majestic Ballroom, Luton, Beds with Peter’s Faces
Jeff Curtis & The Flames #4 (July 1964-January 1965)
Jeff Curtis – lead vocals
Louis McKelvey – lead guitar
Malcolm Randall – saxophone
Ray Soper – keyboards (left around September 1964)
Dave Wigginton – bass
Pete Burt – drums
+
Jeff Lake – saxophone (joined around September 1964)
The band’s new drummer was Pete Burt (b. 20 August 1946, Redhill, Surrey), younger brother of Mick Burt, sticks man with Cliff Bennett & The Rebel Rousers, who answered an advert in the music press. Brought up in South Harrow, Middlesex where he attended Roxeth Manor School, Burt had previously played with a non-professional band that started life at Botwell House, Hayes backing singer Robert (Bob) Chambers.
In an amazing twist of fate, the lead guitarist in the band was Tony Bramwell, Pete Burt’s predecessor Malcolm Tomlinson’s former class mate from Spring Grove Grammar School in Isleworth. The band played a couple of gigs before splitting up around mid-1964. Bramwell then went on to play with local bands, The Fantoms, The Fantom Creed, The Sheratons and The Hum Drum Band.
Sometime in August, the band auditioned for Joe Meek for the first time.
Clockwise from bottom left: Dave Wigginton (bass), Malcolm Randall (sax), Pete Burt (drums), Jeff Curtis (vocals), Jeff Lake (sax) and Louis McKelvey (guitar). Photo: Dave Wigginton
Around late September 1964, Ray Soper was sacked and Malcolm Randall introduced his friend, sax player Jeff Lake. Soper immediately found work with Buddy Britten & The Regents alongside future Deep Purple bass player Nick Simper. He would then work with Cyrano & The Bergeracs, where he reunited with Simper in 1965 but would remain on the fringes of The Flames.
Shortly after Jeff Lake’s arrival, the band returned to Lansdowne Recording Studios in October 1964 to record a two-track demo that included a cover of Solomon Burke and Bert Berns’ “Down In The Valley”.
McKelvey, however, was also growing restless and departed in early January 1965. On the afternoon of his wedding day (most likely in June 1965), he headed to Germany to reunite with former Jeff Curtis & The Flames drummer Malcolm Tomlinson, who was working with James Deane & The London Cats. The guitarist gigged with The London Cats for about a month before returning to London.
Then, around September 1965, McKelvey travelled to South Africa and ended up recording with The Upsetters and The A-Cads. In April 1966, The A-Cads moved to the UK to work with producer Mickie Most but when nothing happened, the guitarist moved to Montreal in September. Based in Canada, McKelvey recorded with Our Generation and Influence before returning to the UK in July 1968 briefly.
Back home he reunited with former Jeff Curtis & The Flames drummer Malcolm Tomlinson. The pair relocated to Toronto in January 1969 where they formed Milkwood and recorded an unreleased album with legendary producer, the late Jerry Ragavoy for Polydor Records. McKelvey would subsequently work with Toronto bands, Damage (alongside Tomlinson) and Powerhouse and record with Marble Hall. He currently lives in Toronto.
Notable gigs:
2 July 1964 – Majestic Ballroom, Luton, Beds with The All Stars
10 July 1964 – Berkhamsted Town Hall, Berkhamsted, Herts
11 July 1964 – Hermitage Ballroom, Hitchin, Herts with Clouds
18 July 1964 – Marcam Hall, March, Cambridgeshire
1 August 1964 – The Gaiety, Ramsey, Cambridgeshire with The Swinging Sounds
6 August 1964 – Rocky Rivers Top 20 Club, Conservative Club, Bedford, Bedfordshire
29 August 1964 – Hermitage Ballroom, Hitchin, Herts with Kit & The Saracens
8 October 1964 – Majestic Ballroom, Luton, Beds with The Roulettes
5 December 1964 – Hermitage Ballroom, Hitchin, Herts with The Midniters
8 December 1964 – Floral Hall, Gorleston-on-Sea, Norfolk
19 December 1964 – Ealing Club, Ealing, Middlesex with The Hobos
2 January 1965 – St George’s Hall, Exeter, Devon with Roger & The Sabres (billed as The Flames)
3 January 1965 – Majestic Ballroom, Luton, Beds with The Mojos
Jeff Curtis & the Flames, late ’64. From left: Louis McKelvey, Jeff Curtis, Dave Wigginton, Pete Burt (front on drums), Jeff Lake and Malcolm Randall.
Jeff Curtis & The Flames #5 (January-February 1965)
Jeff Curtis – lead vocals
Dave Caralambous (aka Dave Carol) – lead guitar
Jeff Lake – saxophone
Malcolm Randall – saxophone
Dave Wigginton – bass
Pete Burt – drums
Dave Marcus Theos Michael Caralambous aka Dave Carol (b. Dave Charalambous, 14 January 1949, Isleworth, Middlesex) was brought up in nearby Twickenham. His first band was The Drovers, which he joined around 1962 and also included rhythm guitarist Richard Allen and drummer Geoff Coxon, who would feature in The Flames’ history in later years when they changed name to The Kool.
In late 1963, The Drovers changed name to The Smokestacks after lead singer Mike Smith joined and Brian Hosking from Twickenham band, The Legend, joined on bass. The Smokestacks became resident band at the 51 Club in central London. In the summer of 1964, Carol joined Hounslow band, The Valkeries and remained with them until January 1965 when he joined The Flames. He was also in the same class at school as McKelvey’s younger sister. Carol says he made his debut at the Locarno Ballroom in Swindon.
The changes, however, didn’t end there. Sax player Malcolm Randall left in early February and subsequently joined Bognor Regis band Beau Brummell & The Noblemen for about six months. In July 1965, he jumped ship to join Manchester’s Playboys.
While with that band, Randall appeared on an excellent soul single for Fontana – “I Feel So Good” c/w “I Close My Eyes”. In an incredible twist of fate, during late 1966, Malcolm Randall was playing with Manchester’s Playboys at Liverpool’s Cavern Club when he saw the latest version of The Noblemen on stage and was amazed to see his former Jeff Curtis & The Flames compatriot Malcolm Tomlinson playing drums!
After leaving Manchester’s Playboys in mid-1968, Malcolm Randall moved to Cambridgeshire and ended up working with Red Express during the 1970s, which later morphed (after Randall had left) into Shakatak. He then worked with Sindy & The Action Men among others.
In need of a replacement, Jeff Lake introduced his friend from Harrow – George Russell.
Notable gigs:
11 January 1965 – Locarno Ballroom, Swindon, Wiltshire with Sonny Childe & The Elders Consolidated
22 January 1965 – Majestic Ballroom, Newcastle upon Tyne, Tyne & Wear
23 January 1965 – Marcam Hall, March, Cambridgeshire with The Fourmost
28 January 1965 – Majestic Ballroom, Luton, Bedfordshire with Johnny Thunder & The Thunderbirds
13 February 1965 – Starlight Ballroom, Boston Gliderdrome, Lincolnshire with The Searchers and Rodgers Lodgers (possibly one of George Russell’s first gigs)
Jeff Curtis & the Flames listed as one of the Roy Tempest Organisation’s Top 20 for 1965
Jeff Curtis & The Flames #6 (February-April 1965)
Jeff Curtis – lead vocals
Dave Caralambous (aka Dave Carol) – lead guitar, vocals
Jeff Lake – saxophone
George Russell – saxophone
Dave Wigginton – bass
Pete Burt – drums
With two of the early band members gone, including his former band mate from Johnny & The Pursuers, Louis McKelvey, Dave Wigginton handed in his notice and agreed to work until mid-April. His replacement was Ray Brown (b. 1944, Hayes, Middlesex), who ended up buying Wigginton’s pink Fender Precision bass. Having rehearsed with Jeff Curtis’s band since January, Brown made his debut with Jeff Curtis & The Flames at Walthamstow Assembly Hall on 24 April.
Photo: Walthamstow Guardian
Brown started with the Sky Blue Skiffle Group in 1956 and two years later appeared on BBC TV’s Carol Levis Junior Discoveries. In 1961-1962, he worked with Hayes band The Preachers and also spent a brief period in a short-lived group with Nick Simper. Soon after joining The Flames, Brown and his school friend Steve Reading from the Sky Blue Skiffle Group wrote and sang backing vocals on “Heart Full of Sorrow” by Heinz, which was released on Columbia in November 1965.
Notable gigs:
28 February 1965 – Olympia, Cromer, Norfolk with Circuit Five
5-6 March 1965 – Boulevard, Tadcaster, North Yorkshire with The McCoys
At the Starlight Room, Boston, April 3, 1965 with the Barron Knights
3 April 1965 – Starlight Ballroom, Boston Gliderdrome, Lincolnshire with The Barron Knights
9 April 1965 – California Ballroom, Dunstable, Bedfordshire with The Escorts and Beaux Maverix (billed as Geoff Curtis & The Flames)
10 April 1965 – Floral Hall, Gorleston-on-Sea, Norfolk with Confessors
17 April 1965 – The Gaiety, Ramsey, Cambridgeshire with The Sons of Adam
Jeff Curtis & The Flames #7 (April-July 1965)
Jeff Curtis – lead vocals
Dave Caralambous (aka Dave Carol) – lead guitar, vocals
Jeff Lake – saxophone
George Russell – saxophone
Ray Brown – bass
Pete Burt – drums
The new line up gigged around the country and on 9 May appeared on the same bill as Beau Brummell & The Noblemen (featuring former member Malcolm Randall) at the Majestic Ballroom in Luton.
A few days after a gig at Clacton Town Hall with Cops ‘N’ Robbers in late June, Jeff Lake and George Russell took a holiday (a trip to Frankfurt to visit former member Malcolm Randall who was playing with Beau Brummell & The Noblemen), which didn’t go down well with singer Jeff Curtis.
Curtis had a band rule that the musicians all had to take a two-week summer holiday at the same time, usually in August. On their return in July, the two sax players were told their services were no longer needed.
Lake subsequently played with a number of local bands before reuniting with former Jeff Curtis & The Flames member Malcolm Randall as road manager for Manchester’s Playboys, which included their Swedish trip in September 1967. On his return, he joined Tommy Bishop & The Rock ‘N’ Roll Revival Show and appeared on the 1968 Decca single “Midnight Train” c/w “Oh Boy”.
Russell joined Hayes, Middlesex band, The Satellites in mid-1966, who changed name to The Army later that year. The band also included future Sweet bass player Steve Priest and cut two recordings in 1967 – covers of the Joe Tex hit “Sugar” and Sam & Dave’s “You Don’t Know Like I Know”. Russell remained with The Army until late 1968/early 1969. He subsequently gigged with Orange Rainbow before moving to Australia. He later returned to live in Hertfordshire.
Notable gigs:
Ray Brown’s first gig with the band, April 24, 1965
24 April 1965 – Walthamstow Assembly Hall, Walthamstow, London
29 April 1965 – Rocky Rivers Top 20 Club, Conservative Club, Bedford (back by demand)
1 May 1965 – Carfax Ballroom, Oxford with The Gangbusters
3 May 1965 – Radlett (most likely Radlett Centre), Hertfordshire
7-8 May 1965 – Silver Blades, Streatham, London
9 May 1965 – Majestic Ballroom, Luton with Beau Brummell & The Noblemen (former member Malcolm Randall on sax with The Noblemen)
15 May 1965 – Malvern Winter Gardens, Malvern, Worcestershire with Eric Benson & Orchestra
22 May 1965 – Manor Lounge, Stockport, Greater Manchester with The Thingumajigs (Stockport County Express) Gig cancelled
29 May 1965 – Starlight Ballroom, Boston Gliderdrome, Lincolnshire with The Hollies and The Red Squares
11 June 1965 – California Ballroom, Dunstable (replaced one of the billed acts)
12 June 1965 – Rivoli Ballroom, Brockley, London
18 June 1965 – USAF base, South Ruislip, London
25 June 1965 – USAF base, High Wycombe, Buckinghamshire
26 June 1965 – Clacton Town Hall, Clacton-on-Sea, Essex with Cops ‘N’ Robbers (last gig with Jeff Lake and George Russell)
1 July 1965 – Ealing Club, Ealing, London (reduced to four piece)
3 July 1965 – Hermitage Ballroom, Hitchin, Hertfordshire with Peter Fenton & The 3,000
4 July 1965 – Woodhall Community Centre, Welwyn Garden City, Hertfordshire
August 1965, from left: Jeff Curtis, Ray Soper, Dave Carol, Pete Burt and Ray Brown. Photo courtesy Ray SoperWhen they were just being billed as The Flames. Photo courtesy Ray Soper. From left: Ray Soper, Dave Carol, Pete Burt, Ray Brown and Jeff Curtis
Jeff Curtis & The Flames #8 (July 1965-May 1966)
Jeff Curtis – lead vocals
Dave Caralambous (aka Dave Carol) – lead guitar, vocals
Ray Soper – keyboards
Ray Brown – bass
Pete Burt – drums
On 5 July, Jeff Curtis auditioned two sax players to replace Jeff Lake and George Russell but decided against keeping the horns and instead invited former member Ray Soper to re-join the band on keyboards. Soper had been playing with future Deep Purple bass player Nick Simper in Cyrano & The Bergeracs for several months and then a group formed by the lead singer of The Gobbledegooks but had helped out at the auditions in January 1965, which had brought in Carol and Brown.
Ray Brown had a prearranged week’s holiday from 10-17 July and his predecessor Dave Wigginton returned to honour engagements in his absence, which included a gig at the Ticky Rick Club in Basingstoke, Hants on 17 July. With Brown back from his holiday, the five-piece rehearsed on 21 July before playing their first gig together at Luton’s Majestic Ballroom where there was a bomb scare.
Often billed as simply “The Flames”, the new line up lasted nearly a year (although Soper left in November briefly to work with a Casino band on the Isle of Man, which lasted a week before he returned).
Pete Burt, who worked as a window cleaner when The Flames weren’t gigging, got a window cleaning job with British rock ‘n’ roll legend, Johnny Kidd, who had split from his longstanding backing band, The Pirates on 19 April 1966. Kidd offered The Flames some work to fulfil his outstanding dates.
During late April/early May 1966, The Flames spent about a week backing the singer, including playing a gig at Chatham Dockyard Naval base, but the arrangement did not suit either party.
Around this time, The Flames returned to Lansdowne Studios to cut two original recordings – the David Myers/Ray Brown collaborations, “Room at the Top” and “I Ain’t The Fool”. The former was later cut by the band’s new identity, The Kool, in the summer of 1967. They also did a second audition with Joe Meek.
After Ray Soper was ousted from The Flames in May, he decided to stick with Kidd and formed a new version of The Pirates. The New Pirates (as they were called) supported Johnny Kidd throughout the summer but Soper stopped playing with the band in August. Two months later, he joined Bristol band, The Denims who were playing US bases in France. After working in Strasbourg for two months as The Headline News, he returned to the UK in April 1967.
Three months later, Soper found work playing in a band on the Cunard Cruise liner Carmania, which travelled between Southampton and Montreal on a six-week passage. Marrying a Canadian, he subsequently immigrated to Canada in 1970 and until recently played with The Dusty Roads Band from his home in Ontario. He also works as a film extra.
Notable gigs:
17 July 1965 – Ricky Tick Club, Carnival Hall, Basingstoke, Hants (Dave Wigginton fills in for Ray Brown)
22 July 1965 – Majestic Ballroom, Luton, Bedfordshire (RayBrown returns and Ray Soper’s first gig back with the band)
24 July 1965 – Locarno Ballroom, Swindon, Wiltshire with The Rising Sons
Photo: Leicester Mercury
25 September 1965 – Il Rondo, Leicester
Photo: Windsor, Slough & Eton Express
2 October 1965 – Adelphi Ballroom, Slough, Berkshire
30 October 1965 – Woodhall Community Centre, Welwyn Garden City, Hertfordshire
Photo: Surrey Comet
11 November 1965 – Byron Hotel, Greenford, London with The Keystones (billed as The Flames)
Jeff Curtis & The Flames were featured in the Surrey Comet‘s 13 November 1965 issue but it was full of factual errors (above)
9 December 1965 – Byron Hotel, Greenford, London with the Harmonies
16 December 1965 – Ealing Club, Ealing, London
18 December 1965 – Adelphi Ballroom, Slough, Berkshire
24 December 1965 – Woodstock Roadhouse, North Cheam, London
1 January 1966 – Starlight Ballroom, Boston Gliderdrome, Lincolnshire with The Nashville Teens and The Game
13 January 1966 – Woodstock Roadhouse, North Cheam, London (billed as The Flames)
22 January 1966 – Locarno Ballroom, Swindon, Wiltshire with Plain and Fancy
12 February 1966 – California Ballroom, Dunstable, Bedfordshire with Goldie & Dave Antony’s Moods and The Game
17 February 1966 – Byron Roadhouse, Greenford, London with The Mode (billed as The Flames)
31 March 1966 – Byron Roadhouse, Greenford, London with The Legends (billed as The Flames)
Photo: Windsor, Slough & Eton Express
23 April 1966 – Adelphi Ballroom, Slough, Berkshire
7 May 1966 – Locarno Ballroom, Swindon, Wiltshire with The Ying Yongs and The Cotswold Stones (one of Ray Soper’s final gigs)
Publishing contract for “Room at the Top” and “I Aint the Fool”, May 1966 courtesy of Ray BrownHeadline News, circa late 1966. Ray Soper is second from left
Jeff Curtis & The Flames #9 (May 1966-August 1967)
Jeff Curtis – lead vocals
Dave Carol – lead guitar, vocals
Jet Hodges (aka Richard Hodgins) – keyboards, vocals
Ray Brown – bass
Pete Burt – drums
The remaining members brought in Richard Hodgins, a keyboard player from Shepperton, Surrey, who used the stage name, Jet Hodges. Originally a bass player, Hodges had taken up music full time after training to be an architect.
Increasingly, the band moved away from using the name, Jeff Curtis & The Flames for live shows and often went by the name, The Jeff Curtis Set or just The Flames. One of the highlights from this period was opening for Ike & Tina Turner when they played at the California Ballroom in Dunstable.
In late 1966, rock promoter and entrepreneur Mervyn Conn, started to represent the band. In December 1966, he added Jeff Curtis & The Flames to a Who concert in Sunderland and renamed the band The Kool for this one-off gig, although the group didn’t appear at the venue.
After signing to CBS Records, Conn decided that The Kool was more representative of the band’s evolving sound and renamed them as the band’s debut single hit the shops.
Notable gigs:
11 June 1966 – Corby Civic Centre, Corby, Northamptonshire with Two of Each (billed as The Flames)
20 August 1966 – Locarno Ballroom, Swindon, Wiltshire with The Showmen
Photo: Paul Quinton
2 September 1966 – Woodstock Roadhouse, North Cheam, London (billed as The Flames)
3 September 1966 – Maple Ballroom, Northampton with Sexion A (billed as The Flames)
18 September 1966 – White Lion, Edgware, London (billed as The Flames)
24 September 1966 – Drill Hall, North Cheam, London with The Fourtunes
Photo: Paul Quinton
2 October 1966 – Prince of Wales, Kinsbury, London
22 October 1966 – California Ballroom, Dunstable with Ike & Tina Turner Revue & The Ikettes (with others)
24 October 1966 – Tiles, Oxford Street, London with Edwin Starr
Photo: Paul Quinton
30 October 1966 – Woodstock Roadhouse, North Cheam, London (billed as The Flames)
5 November 1966 – Locarno Ballroom, Swindon, Wiltshire with The Undertakers and Some Other Guys. Billed as The London Flames (Jeff Curtis)
10 November 1966 – Byron Roadhouse, Greenford, London with The Boots (billed as The Flames)
Photo: Paul Quinton
12 November 1966 – Drill Hall, North Cheam, London with 5 Steps Beyond (billed as The Flames)
Photo: Windsor, Slough & Eton Express
13 November 1966 – Adelphi Ballroom, Slough, Berkshire
18 November 1966 – Woodstock Roadhouse, North Cheam, London (billed as The Flames)
10 December 1966 – Empire Theatre, Sunderland, County Durham with The Who, Dave Berry, She Trinity, The Slade Brothers and The Peddlers (billed as The Kool but band did not appear)
18 December 1966 – Woodstock Roadhouse, North Cheam, London (billed as The Flames)
15 January 1967 – White Lion, Edgware, London (billed as The Flames)
28 January 1967 – Queens Hall, Watton, Norfolk with The Eyes of Blond and The Bohemians
19 February 1967 – Kingsway Theatre, Hadleigh, Essex (billed as Flames)
9 March 1967 – Upper Cut, Forest Gate, Essex with The Style (billed as Jeff Curtis Set)
27 March 1967 – Woodstock, North Cheam, London with The Starfires (billed as The Flames)
9 June 1967 – California Ballroom, Dunstable, Bedfordshire with Allen Bown Set (billed as Geoff Curtis Set)
The Keith Gardiner Band, July 2011
Many thanks to Dave Wigginton, Keith Gardiner, Louis McKelvey, Malcolm Tomlinson, Pete Burt, Dave Carol, Malcolm Randall, Ray Soper, Jeff Lake, Ray Brown, George Russell, Jimmy Marsh, Ian Hannah, Brian Hosking, Richard Bennett and Tony Bramwell.
Concert adverts taken from a number of newspapers including the Ampthill News & Weekly Record, Lincolnshire Standard, the Luton News, the Streatham News, the Surrey Comet, Walthamstow Guardian, Exeter Express & Echo, Cambridgeshire Times, Yarmouth Mercury, Middlesex County Times and West Middlesex Gazette, Hertfordshire Express, Hants & Berkshire Gazette, Hounslow Post, NME, Sevenoaks Chronicle, Westerham Courier and Kentish Advertiser and Melody Maker.
Huge thanks to Dave Wigginton, Keith Gardiner, Louis McKelvey, Malcolm Randall, Jeff Lake, Ray Brown and Ray Soper for photos.
I have tried to ensure the accuracy of this article but I appreciate that there are likely to be errors and omissions. I would appreciate any feedback from anyone who can provide any additions or corrections.
Page 3 of the Jerry Lee Lewis Channel Crossing ProgrammePage 6 of the Jerry Lee Lewis Channel Crossing ProgrammePage 7 of the Jerry Lee Lewis Channel Crossing Programme
Hedgehoppers in 1971, left to right: Alan Avon, Bill Honeyman, Colin Turner (and front) Mick Matthews
Tony Kaye (guitar, vocals) John Askey (bass) Dave Birkenhead (organ) Bill Honeyman (drums)
1967
October Original Hedgehoppers Anonymous lead singer Mick Tinsley and drummer Glenn Martin (who has joined after the top five success of “It’s Good News Week”) have participated in a swansong tour of Sweden and Lapland with bass player Howard Livett and guitarist Ian Atkinson.
(6)During their Scandinavian trip, the quartet play at the Cue Club in Gothenburg on a bill that also features Stoke-on-Trent band, The Colour Supplement. Singer Phil Tunstall will join a new version of Hedgehoppers Anonymous in December 1968. Comprised of guitarist Mick Nixon, bass player Paul Stevenson, drummer Ricky Ballan and future Climax Blues Band keyboard player George Glover, The Colour Supplement play another Swedish date with Hedgehoppers Anonymous, and further shows with The Troggs, before returning to the UK later in the month.
November On their return to England, Tinsley and Martin disband Hedgehoppers Anonymous. Tinsley establishes a solo career while Martin replaces Bill Honeyman in Sandie Shaw’s backing band, The Streamliners, which also comprises lead guitarist/singer Tony Kaye, organist Dave Birkenhead and bass player John Askey. Kaye, who began as a frontman with early 1960s Stoke-on-Trent band, The Huckleberries forms The Shandykins Four in October 1965. The following month, The Shandykins Four were chosen as Sandie Shaw’s permanent backing band and become The Streamliners. Askey and Birkenhead, who has previously played with Chris Ryan & The Crescents, The Scorpions and The Times, join The Streamliners in 1966. The group, however, will also use The Hedgehoppers Anonymous name for gigs.
NME, November 26, 1965
December Phil Tunstall’s band, The Colour Supplement had travelled to Germany during November and spent about a month playing at the Star Club in Hamburg where they meet Ritchie Blackmore (soon to return to the UK and form Roundabout, which morphs into Deep Purple). The band then plays the Storyville Clubs in Cologne and Frankfurt for about a month before returning to Britain.
(30)Hedgehoppers Anonymous perform at the Public Hall, Preston, Lancashire with The Atlantics, The Four Crestas and The Blue Notes.
The Colour Supplement, Phil Tunstall at topThe Colour Supplement, Phil Tunstall in front
1968
January Sandie Shaw & The Streamliners appear at the MIDEM Festival in Cannes, France.
February After Martin leaves Sandie Shaw’s band, The Streamliners, Tony Kaye brings in Roger Keay briefly before former member, Scots-born drummer Bill Honeyman rejoins. Honeyman is a veteran of popular Stoke-on-Trent R&B band, The Marauders having started out in Alan Avon & The Presidents with future Hedgehoppers’ singer Alan Avon, guitarist Peter Birch, bass player Brian Birch and sax player Tony Bennett.
March With the original Hedgehoppers Anonymous defunct, Kaye decides to take over the name and put together an entirely new version of the band. According to the Burton Daily Mail, the new version appears at the 76 Club, Burton upon Trent, Staffordshire on 10 March.
(3) Phil Tunstall’s band, The Colour Supplement appear at the Blue Ball, Risley, Staffordshire.
April(10) The Hedgehoppers Anonymous appears at the Bull’s Head, Hanford, Staffordshire.
(11)Hedgehoppers Anonymous play at the Crystal Ballroom in Stoke-on-Trent.
(12) The Colour Supplement begin a second Swedish tour.
Sandie Shaw & The Streamliners, 5 May 1968
May(12)After a disastrous tour, The Colour Supplement return to the UK and play their first show back on home soil at the Bull’s Head, Hanford.
(16)The Tony Kaye-led Hedgehoppers Anonymous appear at the Crystal Ballroom in Stoke-on-Trent.
(22) The Colour Supplement play at the Bull’s Head, Hanford.
(30) Hedgehoppers Anonymous perform at Longlands College, James Finegan Hall, Eston, Middlesbrough with The Lemon Tree and The Georgian Quintet.
June(1)After playing the Northern club scene for a few months, Hedgehoppers Anonymous are billed to appear at the Union Rowing Club in Nottingham but are replaced at the last minute by Legacy after it’s announced the band has split up. In reality, John Askey has left to join future Hedgehoppers’ singer Alan Avon’s new band, The Toyshop with Roger Jones and Tony Todd. Colin Turner from The King Pins (who have been working as The Ivy League’s backing band) takes over on bass. Turner joined the Manchester band in late 1966 prior to its relocation to the Stoke-on-Trent area and its signing with the Keith Fisher agency. He also appeared on the band’s final single for Columbia in 1967, “Summer’s Come and Gone” c/w “Another Tear Falls”.
The King Pins with Colin Turner, Star Club promo, Germany, late 1966.
(3) The Colour Supplement appear at the Basford Coronation Club in Basford, Staffordshire.
(12) Tunstall’s group return to the Bull’s Head, Hanford, Staffordshire.
(17) The Colour Supplement play at the Filleybrooke Hotel in Stone, Staffordshire.
(19)Phil Tunstall’s band The Colour Supplement appear at the Bull’s Head, Hanford, Staffordshire.
(21) The new Hedgehoppers Anonymous line up with Colin Turner appears at Bradford University with Fleetwood Mac, Blossom Toes and The Amboy Jukes.
(23) The Colour Supplement appear at the Clayton Lodge in Newcastle Under Lyme, Staffordshire.
July(24)Phil Tunstall’s band The Colour Supplement play at the Bull’s Head, Hanford.
August(7) Alan Avon (who will replace Tunstall in Hedgehoppers in 1970) makes an appearance at Bucknall Workingmen’s club in Bucknall, Staffordshire with his band Toyshop.
(14) The Toyshop play at the Bull’s Head, Hanford, Staffordshire.
(21)The Colour Supplement perform at the Bull’s Head, Hanford.
(29) Alan Avon’s band, The Toyshop appear at the Bull’s Head in Hanford.
September(6)Hedgehoppers Anonymous play at the Bull’s Head, Hanford, Staffordshire.
(18)Alan Avon’s band The Toyshop appear at the Bull’s Head, Hanford.
(26) The Toyshop perform at the Steelman’s club in Stoke-on-Trent.
(29)Hedgehoppers Anonymous play at Mr Smith’s in Hanley, Staffordshire.
October(4) Hedgehoppers Anonymous play at the Forest Folk Hotel in Blidworth, Nottinghamshire. Immediately afterwards, lead guitarist/singer Mick Matthews (b. 18 December 1946, Knutton, Staffordshire) joins the line up after impressing the band with his song “My Friend John Carter The Kind Magician”. Matthews, who started out in The Telstars, has been playing with Harvey’s Team with singer Ian Riley and bass player Graeme Bates. The new Hedgehoppers Anonymous line up embarks on a four-week Scottish tour with Dave Berry & The Cruisers.
(9)Phil Tunstall’s band The Colour Supplement travel to the Birmingham area and play at the Mackadown, Kitts Green, West Midlands with The Passion Forest.
(11) Future Hedgehoppers’ singer Alan Avon’s band, The Toyshop appear at the Harold Clowes Hall in Bucknall, Staffordshire.
(23)The Colour Supplement perform at the Chesterfield Club in Castle Bromwich, West Midlands.
South African sleeve from early 1969 showing a short-lived lineup, photo taken November 1968 Left to right: Bill Honeyman, Mick Matthews, Colin Turner and Dave Birkenhead
November Kaye, who wants to concentrate on a management role for the band, drops out and Matthews take over lead vocal duties briefly until Phil Tunstall joins from The Colour Supplement in December. Kaye’s sons will later write for Robbie Williams.
December Future Hedgehoppers’ singer Alan Avon’s band, The Toyshop record a lone single for Polydor Records – the Carter/Lewis penned “Say Goodbye To Yesterday” c/w guitarist Tony Todd’s “Send My Love To Lucy”. John Askey leaves after this recording and Maurice Cope takes over on bass.
After arriving in South Africa, March, 1969 Article from the Natal Mercury
1969
January Hedgehoppers Anonymous are invited to play a three-month residency at Tiles nightclub in Durban, South Africa but Dave Birkenhead is unable to participate in the South African tour and stays behind to join The Look Twice Band.
February Decca re-releases Hedgehoppers Anonymous’ second single “Don’t Push Me” in South Africa with a picture sleeve featuring the short-lived line up from November 1968 depicting Honeyman, Matthews, Turner and Birkenhead.
(26) Remaining members – Phil Tunstall, Mick Matthews, Bill Honeyman and Colin Turner arrive in Durban to be feted as rock royalty.
March Hedgehoppers Anonymous start a three-month residency at Tiles nightclub. After playing a huge concert at the Kingsmead Cricket Stadium, they are invited to extend the Tiles residency until August.
August Following their resounding success at Tiles, Hedgehoppers Anonymous move on to Johannesburg where they hold down a residency at the 19th Level nightclub. Hedgehoppers Anonymous play at the club for three months before embarking on a short tour of Rhodesia where they appear at the Stork Club in Bulawayo and the city’s town hall.
December Hedgehoppers Anonymous return to Johannesburg to play another residency at the 19th Level nightclub before working at the Underground club below the Hotel Continental.
Left to right: Bill, Mick, Phil and Colin in 1970, shortly before Phil Tunstall’s tragic death. Photo by Barry Oliver
1970
January Hedgehoppers Anonymous sign a deal with the Highveld label to record three tracks.
March Linked with producer Tony Gibson, the group records Matthews’s “Mary Mary” backed by a beat version of Eric Morris’s “Humpty Dumpty”, which has been blended with an indigenous kwela sound, for their debut single. They also record the Matthews-Tunstall-Turner collaboration, “The Man Upstairs”.
April(10) Future Hedgehoppers’ singer Alan Avon’s band, The Toyshop play at the Cavern Club in Liverpool.
May(30)Hedgehoppers Anonymous are billed to appear at a huge rock festival to be held at Ellis Park Stadium in Johannesburg to mark Republic Day on Monday, 31 May alongside The Bats, Omega Limited, Sounds of Brass, The Rising Sons, The Peanut Butter Conspiracy, The First Acquaintance, Hawk and The Staccatos but Tunstall is killed in a road accident on the eve of the show.
June Devastated by their loss, Matthews, Honeyman and Turner return to the UK and go their separate ways. Over the next six months, Matthews works with a band in Germany before Honeyman contacts him about returning to South Africa where there is a demand for the band.
July In their absence, Highveld releases “Mary Mary” c/w “Humpty Dumpty” as a single, which peaks at #15 on the South African LM radio chart. Producer Tony Gibson has set up his own label Tojo with his wife Jo and in August issues “The Man Upstairs” backed by an instrumental version of the song entitled “The Man Downstairs” but it does not chart.
December The remaining members add singer Alan Dutton (aka Alan Avon), who has played with Honeyman during the early 1960s in Alan Avon & The Presidents and until recently was lead singer with Alan Avon & The Toyshop. Avon’s band has toured extensively throughout the UK and recorded the collectable single “These Are The Reasons” c/w “Night To Remember” for the Concord label.
1971, left to right: Mick, Colin, Alan and Bill1971, left to right: Mick Matthews, Colin Turner, Alan Avon and Bill Honeyman
1971
January To avoid any potential legal problems with Jonathan King who still owns the name, they drop the Anonymous tag and become Hedgehoppers.
February(27)Billboard magazine announces that Hedgehoppers have returned to South Africa after a spell in London. The revised line up resumes gigging at the Underground nightclub where they are booked for three months. Producer Tony Gibson’s Tojo label records a lone single combining two strong Matthews numbers – “A Song For Pete”, inspired by English guitarist Pete Clifford from The Bats (and one-time guitarist with Dusty Springfield’s band, The Echoes), and “Here’s To The Morning Sun”.
April The band opens Samantha’s, a new nightclub in Johannesburg. While there, Gibson negotiates a deal with CBS which allows the band to record an album mixing Matthews’ originals with covers of Buffalo Springfield’s “Rock ‘N’ Roll Woman” and George Gershwin’s “Summertime”. (4) “A Song For Pete” on Tojo peaks at #5 on the LM Radio hit parade.
June Having given the others notice that he’ll be returning to the UK after their six-month contract is up, Avon completes a nationwide tour taking in Durban, East London, Port Elizabeth, Kimberley, Cape Town, Upington and Windhoek.
July After Avon returns to the UK in late July, Hedgehoppers bring in new singer, the late Andy Ionnides from Suck, who joins the band for a three-month residency at the Coq D’Or in Salisbury, Rhodesia.
August(29) “Hey!” recorded with Avon on lead vocals, backed by the non-album “My Friend John Carter The King Magician”, featuring Matthews on lead vocals, hits #2 on the LM Radio hit parade and tops the Rhodesian charts.
September(17) “Hey” peaks at #9 on the Springbok Radio hit parade.
October(2)Billboard magazine reports that Hedgehoppers are touring Rhodesia. After the tour finishes this month, keyboard player and singer Rupert Mellor from The First Aquaintence takes over from Ionnides. Hedgehoppers return to Samantha’s and hold down a residency until the end of the year. While there, the band records three new Mick Matthews’s songs for Parlophone Records – “I’m On My Way Ma”, “Blue, Blue, Blue” and “Young Man On The Road”, all featuring Matthews on lead vocals.
November “Blue, Blue, Blue” backed by “I’m On My Way Ma” is released.
1972
March(4)Shortly after watching their beloved Stoke City beat Chelsea in the League Cup final at Wembley, Matthews leaves the band and returns to the UK. He later returns to South Africa and forms Ballyhoo, who will have significant success in the 1970s. Hedgehoppers carries on as a trio and back Wellington Count Judge on the Mojo single “Noma Kunjalo” c/w “Salani” as The Cool Cats. A few months later, Honeyman is killed in a road accident and the band splits with Turner returning to the UK.
From left: Alan Avon, Bill Honeyman (in back with glasses), Mick Matthews and Colin Turner. Photo by Gavin Furlonger
Sources:
I Started Out To Write A Song, by Mick Matthews and Adrian English (awaiting publication). Strange Brew – Eric Clapton & The British Blues Boom 1965-1970, by Christopher Hjort, Jawbone Press, 2007 Tapestry of Delights Revisited by Vernon Joynson, Borderline Productions, 2006.
Information on the King Pins from the Starclub Hamburg site. The photo montage is their copyright.
Live dates sourced from Melody Maker, Birmingham Evening Mail, The Evening Sentinel, Nottingham Evening Post, Middlesbrough Evening Gazette.
Many thanks to Mick Matthews, Alan Avon, George Glover, Tertius Louw, Marq Vas, Benjy Mudie and Gavin Furlonger. Thank you to George Glover, Mike Nixon and Paul Stevenson for passing on details about The Colour Supplement, to Joe Toriati for the photos of this band and to Marq Vas for 45 label scans.
Thank you to Mick Matthews and Benjy Mudie at Fresh for permission to use the Hedgehoppers’ tracks. Keep an eye on Fresh Music’s website for the forthcoming Hedgehoppers CD: www.freshmusic.co.za
Mick Matthews and Adrian English’s I Started Out To Write A Song is awaiting publication.
I have tried to ensure the accuracy of this article but I appreciate that there are likely to be errors and omissions. I would appreciate any feedback from anyone who can provide any additions or corrections. Email: Warchive@aol.com
1965, from left: Mick Tinsley, Alan Laud, John Stewart, Ray Honeyball and Leslie Dash
Mike Tinsley (vocals) John Stewart (lead guitar, vocals) Tony Cockayne (rhythm guitar) Ray Honeyball (bass) Leslie Dash (drums)
1963
November Former Electrons lead singer Mike Tinsley (b. 16 December 1940, Portsmouth, Hants), guitarists John Stewart (b. 18 March 1941, Torphins, Kincardineshire, Scotland) and Tony Cockayne; bass player Ray Honeyball (b. 6 June 1941, Whickham, County Durham) and drummer Leslie Dash (b. 3 April 1943, Hillingdon, Middlesex) are all Royal Air Force ground crew based at RAF Wittering in Cambridgeshire, England. Captivated by the beat scene exploding in the UK, they decide to form a band, The Trendsetters. The quintet performs initially in the officers’ mess at RAF Wittering but then ventures out, debuting at the White Lion pub in Whittlesey, Cambridgeshire. After receiving a positive reception, they play at the Dorothy Ballroom and the Corn Exchange in Cambridge.
1964
The band changes its name to The Hedgehoppers; a nickname for the “V” bombers, which can fly a few hundred feet above the ground, under enemy radar to avoid detection and ground-to-air missiles. A local agent spots The Hedgehoppers playing the local pub scene and arranges live gigs to showcase the band at weekends. By June, The Hedgehoppers have opened for Unit Four Plus Two, The Hollies and The Kinks among others.
November (22) The Hedgehoppers make their first appearance in Cambridge, playing at the Alley.
December (26) The band performs at the Corn Exchange, Cambridge with The Cascades.
1965
February (7) The Hedgehoppers play at the Alley Club in Cambridge.
March (6) The Hedgehoppers appear at the Victoria Ballroom in Cambridge.
(14) The band returns to the Alley Club for another show.
April(1) The group performs at the Victoria Ballroom in Cambridge.
(17) The Hedgehoppers open for The Primitives at the Corn Exchange, Cambridge.
May (8) The group plays at the Victoria Ballroom, Cambridge.
(22) The Hedgehoppers open for Brian Poole & The Tremeloes at the Corn Exchange, Cambridge.
July (3) The band returns for another show at the Victoria Ballroom in Cambridge.
(17) The Hedgehoppers appear at the Dorothy Ballroom in Cambridge with Bob Ludman and His Orchestra, The Seminoles and Ben Elliot and The Klan. Alan Laud (b. 13 March 1946, Whittlesey, Cambridgeshire), who is a civilian living near the RAF base takes over from Cockayne on rhythm guitar after meeting the musicians in a local pub.
August The Hedgehoppers are playing at the Corn Exchange in Cambridge when they are spotted by Trinity College student Kenneth King (aka Jonathan King), who is working as a producer for Decca Records through his own company “Jonathan King Enterprises”. The aspiring producer is about to release the single “Everyone’s Gone To The Moon” under his recording name Jonathan King and approaches The Hedgehoppers to see if they will record another of his songs – “It’s Good News Week”. King, who is keener on becoming a producer than a singer, suggests that they add the Anonymous tag so that they can keep their fan base but protect their anonymity from the RAF, which is unaware of the recording. The band records “It’s Good News Week” under the musical direction of Arthur Greenslade, who adds session players, including guitarist “Big” Jim Sullivan, to back Tinsley on the track.
(14) Still billed as The Hedgehoppers, they play at the Victoria Ballroom in Cambridge.
September King’s tongue-in-cheek protest song, “It’s Good News Week” backed by “Afraid of Love” is released. The single’s success generates a huge amount of publicity but also creates problems with the RAF, which has not given the musicians the proper authority to find employment outside the Armed Forces. Hedgehoppers Anonymous make their debut TV appearance on ITV’s Ready Steady Go! They also appear on BBC TV’s Top of The Pops to plug the single.
(11) Billed as The Hedgehoppers, they play at the Victoria Ballroom in Cambridge.
West End Promotion Ad, New Musical Express, October 1965
October Tinsley successfully submits an application to the RAF for a discharge.
(1) Still billed as The Hedgehoppers, they appear at Bassingbourn Village College, Bassingbourn, Cambridgeshire with The Hornets.
(15)NME reports that Dash, Honeyball and Stewart have applied to the RAF for a discharge but it is not known whether these will be accepted. Behind the scenes, London session musician Glenn Martin (b. 22 January 1946, Wembley Park, Middlesex), who is the resident drummer at the Ad-Lib club and has been playing with Ayshea Brough, takes over from Leslie Dash for live gigs while the drummer tries to gain a discharge.
Tour dates announced, New Musical Express, October 15, 1965
(29) With Martin onboard, the new line up plays at the YOR Club, Parr Hall, Warrington, Cheshire with The Boys in support . On the same day, NME reports that the future of Hedgehoppers Anonymous is still in the balance as it is uncertain whether Dash, Honeyball and Stewart’s applications will be accepted. Soon after, Stewart successfully gains a release from the RAF. Meanwhile, the group is forced to turn down an offer to join the Gene Pitney tour because of the travelling involved.
Opportunity to open for Gene Pitney lost New Musical Express, October 29, 1965
(30) Hedgehoppers Anonymous perform at Altrincham Stamford Hall in Altrincham, Greater Manchester.
(31) The group makes an appearance at Peter Stringfellow’s Sheffield Mojo club, Yorkshire.
November(2) The band performs on Rediffusion’s Five O’Clock Funfair.
(3) Hedgehoppers Anonymous play at the Kingston Cellar in Kingston-upon-Thames, Surrey.
(4) They perform at the Swindon Locarno Ballroom in Swindon, Wiltshire.
(5) Hedgehoppers Anonymous play at Leighton Baths, Leighton Buzzard, Bedfordshire.
(6) “It’s Good News Week” peaks at UK #5 and also reaches #48 in the US Billboard chart. On the same day, the band are billed to appear at Rawtenstall Astoria, Rawtenstall, Lancashire.
(7) Hedgehoppers Anonymous perform at the Carlton in Slough, Berkshire.
(8) The following day, the band plays at the Atalanta Ballroom in Woking, Surrey.
(10) Following a show at High Wycombe Town Hall the previous day, the group performs at the Stevenage Locarno in Stevenage, Hertfordshire.
(11) They perform at Wisbech Rose and Crown, Wisbech, Cambridgeshire.
(13) The Grantham Journal lists the band appearing at Drill Hall, Grantham, Lincolnshire with Them Dogs and The Scene.
(16) Hedgehoppers Anonymous appear at an All-nighter session at the Cavern in Liverpool with The Baskerville Hounds, The Verbs, The Drifting Sands, The Richmond Group, The Dresdens, The Almost Blues, The Harpos, The Masterminds and The Fourmost.
(18) The band plays at the 100 Club in Oxford Street, London.
Leslie and Ray go “part-time”New Musical Express, November 26, 1965
(26)NME reports that Dash and Honeyball are likely to be temporarily replaced because their applications to buy themselves out of the RAF have been turned down a second time. The magazine goes on to say that Dash and Honeyball will return to RAF Wittering today and their availability for appearances – as close as next week – is still uncertain. The band’s agent Chris Peers tells NME that the two musicians will work on as many dates as possible, but for some bookings replacements will have to be brought in. Behind the scenes, however, Dash decides not to continue with the band and will later move out to South Africa where he currently resides. Glenn Martin takes over but will not be officially announced as Dash’s replacement until December. On the same day, the band appears Hillside Ballroom, Hereford with The Alan Walker Group .
1965, from left: Ray Honeyball, Alan Laud, Mick Tinsley, and John Stewart
December Decca rush releases a second single to capitalise on the success of “It’s Good News Week” but the Kenneth King written “Don’t Push Me” c/w “Please Don’t Hurt Your Heart for Me” sells poorly. Like Dash, Ray Honeyball cannot get a release from the RAF. Former Von Dykes bass player Lee Jackson is brought in and put on a retainer. The idea is that he will fill in for Honeyball whenever the bass player cannot honour an engagement. While on a retainer, Jackson plays some shows with John Mayall’s Bluesbreakers.
Lineup after late ’65, from left: Tom Fox, Glenn Martin, Mike Tinsley, Alan Laud and John Stewart
(1) The band plays at Stourbridge Town Hall, Stourbridge, West Midlands.
(2) Hedgehoppers Anonymous perform at the Blue Moon club in Cheltenham, Gloucestershire with The Alan Walker Group.
(3) They appear at Trowbridge Town Hall in Trowbridge, Wiltshire.
(4) The group plays Redhill Market Hall in Redhill, Surrey.
Photo: Boyfriend, 4 December 1965
(6) Hedgehoppers Anonymous appear at Bridgewater Town Hall, Bridgewater, Somerset.
(8) They play at Kidderminster Town Hall, Kidderminster, Worcestershire.
(11) Hedgehoppers Anonymous appear at Nelson Imperial in Nelson, Lancashire.
(12) The group plays a show at Manchester Oasis club.
(16) The band appears at the Pier Pavilion in Worthing, West Sussex.
Keith Jackson and Glen Martin replace Ray Honeyball and Leslie Dash, New Musical Express, December 17, 1965
(17)NME announces that Keith Jackson and Glenn Martin have formally replaced Ray Honeyball and Leslie Dash who have been unable to obtain discharges from the RAF.
(22)Record Mirror announces the new line up, introducing Lee Jackson. However, Jackson only appears in a few publicity photos before finding work elsewhere. He subsequently joins Gary Farr & The T-Bones and then The Nice. Londoner Tom Fox takes over on bass from The Beat Boys and Barry Edwards and The Semi-Tones.
(27) The group plays at Bath Pavilion, according to Western Scene.
1966
January Having signed up to Chris Peers Promotions the previous year, the new line up starts to pick up steady work around the country.
(15) Boyfriend magazine lists the group appearing at the George Ballroom, Hinckley, Leicestershire.
(21-26) Boyfriend magazine reports that the band is touring Scotland.
(29)Boyfriend magazine has the group playing at the Town Hall in Bishop’s Stortford, Herts.
April Martin suggests that Hedgehoppers Anonymous cut a version of Chip Taylor’s “Wild Thing”, which is recorded and prepared for release. However, according to Martin, Kenneth King is not convinced about the song’s merit and persuades the musicians to record “Baby (You’re My Everything)” (a Little Jerry Williams ballad that Jonathan King had the rights to) instead. Shortly afterwards, The Troggs top the charts with their own version of “Wild Thing”, allegedly after hearing Hedgehoppers Anonymous’ unreleased version. However, Jonathan King relates “the demo of Wild Thing was first played to me by the publishers; I loved the song and allowed the guys to play on it but their version wasn’t even as good as the demo so I passed and the song was given to Larry Page who produced it with the Troggs.”
(3) The Rhyl & Prestayn Gazette advertises the group appearing at the Royal Lido in Prestayn with The Raynes.
(22) The Southend Standard lists the band playing at the Cricketers Inn, Westcliff, Southend, Essex with Bubbles & Co.
Photo: Mirabelle, 23 April 1966 issue
May Having appeared on ITV’s Ready Steady Go! Hedgehoppers Anonymous return with a third single, “Baby (You’re My Everything)” c/w “Remember”. The band’s poppy sound, however, increasingly sounds dated, and the single does not chart.
June(10) Hedgehoppers Anonymous play at the California Ballroom, Dunstable with The Felders.
(11)Melody Maker reports that Mick Tinsley has been ordered to rest for a week after being injured by fans at the Star Rink Ballroom, West Hartlepool last weekend. The band appears on BBC Radio’s Saturday Club this weekend.
July(23) They appear at St Mary’s Hall in Bognor Regis, West Sussex with Listen.
August(26) The band moves towards a more harder-edge rock sound, which culminates in the mod/freakbeat classic “Daytime” which is backed by “That’s The Time”. Unfortunately, the single is not a chart success. “Daytime” is an adaption of Les 5 Gentlemen’s “Dis-Nous Dylan” (originally co-written by Jean Fredenucci of Les 5 Gentlemen and T. Saunders) with English lyrics by John Stewart. Les 5 Gentlemen also record “Daytime” with Stewart’s lyrics for a release on the Major Minor label as Darwin’s Theory.
September(10) Hedgehoppers Anonymous record for BBC Radio’s Saturday Club with Dave Dee, Dozy, Beaky, Mick and Tich, The Fortunes and Glen Dale.
Photo: Mirabelle, 15 October 1966 issue
October The band plays at the Lyceum Ballroom in London on a bill that includes Tom Jones.
(12) Hedgehoppers Anonymous appear at Tiles nightclub on Oxford Street in central London with The Excels.
(15) The band plays at Leyton Baths Hall, Leyton, east London with The Plague.
(22) Hedgehoppers Anonymous play at Bedford Corn Exchange, Bedford with The Day-Stroms and The Tone Benders.
November(26) The band appears at Leas Cliff Hall, Folkestone, Kent with The Kingpins.
December(9) Final single Alan Laud’s “Stop Press” c/w “Little Memories” is another chart failure.
(17) Hedgehoppers Anoymous perform at Wilton Hall, Bletchley, Bucks with The Addix.
(23) The band appears Lewes Town Hall, Lewes, East Sussex with The Zombies and The Teen Team.
1967
January(6) The band plays at the Winter Gardens, Droitwich, Worcestershire.
(7) Hedgehoppers Anonymous appear at the Marine Ballroom, Morecambe Pier, Lancashire.
New Musical Express, January 14, 1967
(14)NME reports that the current Hedgehoppers Anonymous will split up on 11 February but that Martin and Fox are planning to form a new group, which will probably use the same name. On the same day, Mike Tinsley releases his debut solo single, “Let It Be Me”, produced by Kenneth King, on Decca. The publication also announces that Alan Laud and John Stewart will be forming a trio with ex-Overlanders’ member Terry Widlake but the collaboration never happens. Alan Laud later moves to Spain where he runs a bar in Torremolinos while John Stewart, who is intent on pursuing a career as a songwriter, subsequently relocates to the United States. He currently works in a recording studio in Tennessee. Rather than keep the Hedgehoppers Anonymous name going, Glenn Martin and Tom Fox get a job with blues singer Kenny Barnard, who is opening at the Bag O’Nails club after resident band The Peddlers have moved on.
(22) Martin (on his 21st birthday) and Fox back Kenny Barnard at the Bag O’Nails club. Soon after The Peddlers return to the Bag O’Nails and Barnard’s band finds itself without any work. The musicians go their separate ways. Tom Fox disappears from the music scene but allegedly commits suicide years later.
February (2) The band is advertised to play at the Embassy Suite, Thursday Club, Colchester, Essex with Hap and Unit 4.
(11) Hedgehoppers Anonymous officially disbands.
March Having moved to Halifax, West Yorkshire in February, Martin revives The Hedgehoppers Anonymous name and brings in lead guitarist Ian Atkinson from The Morton Fraser Harmonica Gang. Atkinson recommends his friend from Leeds, bass player Howard Livett. Keyboard player Vincent Crane joins for a few gigs but soon leaves to form The Crazy World of Arthur Brown. Atkinson contacts his friend organist/singer Chris Lazenby, who has previously worked with the guitarist in Bradford band, The Del Rio 4. They also recruit a second lead guitar player from Oldham. The new version mixes band originals – “It’s Good News Week”, “Don’t Push Me” and “Daytime” with covers material.
Hedgehoppers, summer 67 photo with Pete, Ian Atkinson, Glenn Martin, Chris Lazenby and Howard Livett
April The new line up embarks on a busy schedule of nation-wide gigs that takes in venues as far flung as Glasgow and Leicester.
May (29) The Rhyl & Prestayn Gazette lists the band playing at the Royal Lido in Prestayn with The Raynes.
June (23) The group performs at St Benedict’s Club, Sketty, Swansea, south Wales with The Outer Limits.
August Lazenby and the second lead guitarist depart when Martin convinces original singer Mick Tinsley to return to front the band. Lazenby joins the house band at Butlins in Minehead and reunites with Glenn Martin in 1970 when their band works the summer and winter seasons at the Butlins Hotels in Cliftonville near Margate, Kent.
(18) With Tinsley back onboard, the group performs at the Carlton Club, Warrington, Cheshire with The Expressions.
(25) The band plays at the Boogaloo, Castleford, West Yorkshire with The Move.
September (16) Hedgehoppers Anonymous appear the Top Spot Ballroom, Ross-on-Wye, Herefordshire with The Knack .
Sweden, 1967, from left: Ian Atkinson, Mick Tinsley, Glenn Martin and Howard Livett
October Hedgehoppers Anonymous featuring Mick Tinsley, Glenn Martin, Howard Livett and Ian Atkinson embark on a short tour of Sweden and Lapland.
(6) While playing at the Cue Club in Gothenburg, Stoke-on-Trent band The Colour Supplement open the show. The band’s singer Phil Tunstall will join a new, completely unrelated, version of Hedgehoppers Anonymous in December 1968.
Swedish tour, 1967, from left: Mick Tinsley, Howard Livett, Glenn Martin and Ian Atkinson
(18) Liseberg Pop In Club in Gothenburg.
November On their return to the UK, Tinsley resumes a solo career. He later becomes a co-writer for songs covered by Joe Dolan and Kelly Marie. In the late 1960s/early 1970s, Livett works on the Mecca scene with the band Huckleberry and spends over 10 years playing the Leeds City Varieties but passes away in August 2005. Martin joins Sandie Shaw’s backing group, The Streamliners, featuring Stoke-on-Trent musicians Tony Kaye (guitar), Dave Birkenhead (organ) and John Askey (bass). While with Sandie Shaw & The Streamliners, Martin will appear at the MIDEM Festival in Cannes in January 1968. When Martin leaves The Streamliners in February, Tony Kaye decides to use the Hedgehoppers Anonymous name for a new, completely unrelated, band, which with a modified line up will continue into the early 1970s, recording in South Africa as Hedgehoppers. Mick Tinsley sings “Wrap Me in Love” co-written with Peter Hawkins of Pickettywitch as a soloist for the UK at the Yamaha World Song Festival in Tokyo 1976. He co-writes songs with Peter Yellowstone for Joe Dolan and Kelly Marie.
2009
October Tinsley’s solo album My Surival is released on the British Academy Songwriters Composers Authors’ label. The album is produced by Tony Swain, who has previously worked with Spandau Ballet, Alison Moyet and Bananarma among others.
Mick Tinsley, May 2010
2010
June Prism Leisure Records re-release two CDs featuring Tinsley singing on the songs “Songs That Won The War” and “English Street Party” recorded in the 1990s. Glenn Martin, who has worked as a session drummer over the last 40 years is drum chair at the Surrey Jazz Orchestra.
December(4) Tinsley will be appearing at the Amersham Rock and Roll Club with Chris Farlowe, Vanity Fair, The Searchers and Honeybus.
Sources:
The Best of The Cellars – The Story of the Cavern Club by Phil Thompson, Tempus Publishing Limited, 2007. New Musical Express, 1 October 1965 (page 9), 15 October 1965 (pages 9 and 13), 29 October 1965 (pages 6, 9 and 10), 26 November 1965 (page 9), 17 December 1965 (page 6), 14 January 1967 (page 8).
Many thanks to Mick Tinsley, Glenn Martin, Jonathan King, Chris Lazenby, Mick Cockayne, Lee Jackson, Jenni Livett, Christopher Hjort, Tertius Louw, Paul Green and Tony Walter for providing further details. Thank you to Paul Tinsley for the photo of Mick Tinsley in May 2010. Thanks also to Samuel Coomans for one of the sleeve scans and to Hans Olof Gottfridsson.
Mike Tinsley’s “My Survival” is available on the BASCA Academy Recording Digital label and can be purchased on Amazon.
Newspapers including Cambridge News, the Warrington Guardian and the South Wales Evening Post.
I have tried to ensure the accuracy of this article but I appreciate that there are likely to be errors and omissions. I would appreciate any feedback from anyone who can provide any additions or corrections. Email: Warchive@aol.com
Denny Laine (guitar, vocals) Michael Pinder (keyboards, vocals) Ray Thomas (harmonica, saxophone, flute, vocals) Clint Warwick (bass, vocals) Graeme Edge (drums)
1964
April The nucleus of the band is formed by Laine (b. Brian Frederick Hines, 29 October 1944, Tyseley, Birmingham, W. Midlands, UK), who has just disbanded his group Denny And The Diplomats, with Thomas (b. 29 December 1942, Stourport-on-Severn, Hereford & Worcs, UK.) and Pinder (b. 27 December 1941, Birmingham, W. Midlands, UK), who have both been playing in local outfits El Riot & The Rebels and The Krewcats, and have just returned from a year’s residence at Hamburg’s Top Ten club.
May (4) Rehearsals begin with the addition of drummer Edge (b. 30 March 1942, Rochester, Staffs, UK), who has previously been a member of Gerry Levene & The Avengers and bass player Clint Warwick (b. Albert Eccles, 25 June 1940, Birmingham, W. Midlands, UK), formerly a member of The Rainbows. The group quickly gains a residency at the Carlton Ballroom in Erdington, West Midlands, initially billed as The M&B Five, apparently in the hope of gaining sponsorship from local brewers Mitchell and Butler. Laine, who has pushed the band’s sound towards the blues and jazz of London based groups, decides soon afterwards to re-name the band after a Slim Harpo song titled “Moody Blue” and The M&B Five becomes The Moody Blues Five.
August The band attracts the attention of London manager Tony Secunda, who secures The Moody Blues (as they now call themselves), a residency at London’s Marquee club on Monday nights, where they replace Manfred Mann. Through their prestigious “live” work at the club, the band quickly attracts the attention of Decca Records which signs the group. Shortly afterwards The Moody Blues record their debut single, the Pinder-Laine composition “Lose Your Money” which the band performs on ITV’s Ready Steady Go!.
September (3) The group plays its first show at the Marquee in London.
(11) The Moody Blues appear at Birmingham’s Town Hall alongside The Spencer Davis Group and headliners Alexis Korner Incorporated.
Photo: Woking Herald
(14) The Moody Blues open the Moonlighter Club, held at Weybridge Hall in Weybridge, Surrey.
(28) The band returns for another show at the Moonlighter Club, Weybridge Hall in Weybridge, Surrey.
October (4) The band plays at the Marquee in London.
(30) The Moody Blues appear at the Crawdaddy club in Richmond, Surrey.
November After “Lose Your Money” fails to chart, the group records a cover of Bessie Banks’s US R&B hit, “Go Now”, which has been given to the band by New York disc-jockey B. Mitchell Reed during a visit to the UK.
(2) The Moody Blues perform again at the Moonlighter Club, held at Weybridge Hall in Weybridge, Surrey.
December (7) The group appears at the Marquee in London.
1965
January (8) The group begins a 24-date, twice-nightly tour with Chuck Berry at the Odeon Theatre, London, which will end 31 January at the Regal Theatre, Edmonton, London.
(28) “Go Now”, produced by Alex Murray, tops the UK chart.
February The band quickly releases “I Don’t Want To Go On Without You”, a revival of a Drifters’ b-side as a follow up single, but it only reaches UK #33. Part of the single’s failure can be attributed to the simultaneous release of identical covers by The Searchers and The Escorts. (The group is unhappy with the recording because Thomas’s flute solo has been inexplicably erased from the final pressing.)
March (8) The Moody Blues make their first live broadcast on BBC Radio’s Joe Loss Pop Show.
April “Go Now” holds down anchor position in a unique US Top 10 in which 9 of the singles are from the UK.
(11) The group takes part in the annual New Musical Express poll winners concert at the Empire Pool, London, with The Beatles, The Rolling Stones, The Kinks and The Animals among others.
May The band releases an EP, which features both sides of the group’s debut single plus the a-sides of the previous two releases.
(24) The Moody Blues take part in the British Song Festival at the Dome, Brighton, East Sussex.
June (5) The band guests on ITV’s Thank Your Lucky Stars, where it introduces its new single, the Pinder-Laine collaboration “From The Bottom Of My Heart”.
(15) The Moody Blues join The Rolling Stones for a 4-date tour of Scotland alongside The Hollies, The Cannon Brothers and The Checkmates. The tour begins at the Odean Theatre, Glasgow.
(16) The group performs at the Usher Hall, Edinburgh.
(17) The Moody Blues appear at the Caird Hall, Dundee.
(18) The final date takes place at the Capitol Theatre, Aberdeen. (While the Stones prepare for a short tour of Scandinavia, The Moody Blues return to London in order to fly to New York for their debut US appearance.)
(19) The group makes its US debut with The Kinks at the Academy of Music in New York.
July “From The Bottom Of My Heart” is released and climbs to UK #22 and US #93. The Moody Blues’ debut album Magnificent Moodies, which has been produced by Denny Cordell is released to coincide with the single but fails to chart. In the US the album is released as Go Now and features a different track listing.
(24) The band performs at the Birdcage in Portsmouth, Hants.
August (1) The Moody Blues perform at the London Palladium with The Rolling Stones, The Fourmost, Steampacket and others.
(6) The group plays on the opening day of the fifth annual National Jazz & Blues Festival at the Richmond Athletic Ground, Richmond, Surrey.
(29) The Moody Blues play at the Downs, Hassocks, West Sussex.
September (6) The band signs a management contract with NEMS.
(21) The Moody Blues participate in Pop From Britain concert at the Royal Albert Hall, London, with Cliff Bennett & The Rebel Rousers, Georgie Fame & The Blue Flames and The Fourmost.
(25) The group appears at the Birdcage in Portsmouth, Hants with St Louis Checks.
(30) The Moody Blues replace Unit 4 Plus 2 for 3 dates on The Rolling Stones UK tour. The first date takes place at the Gaumont Theatre, Hanley, Staffs. Also on the tour are The Spencer Davis Group, The End and The Habits.
October (1) The band appears at the ABC Theatre, Chester, Cheshire.
(2) The group’s final appearance takes place at the ABC Theatre, Wigan, Lancashire. Unit 4 Plus 2 return to the tour immediately afterwards.
November The Laine-Pinder composition “Everyday” only reaches UK #44, despite becoming a turntable hit on pirate radio.
December (3) The group supports The Beatles on their final UK tour, a 9-date twice-nightly package, which opens at Glasgow’s Odeon cinema and ends on December 12 at the Capitol Cinema, Cardiff, Wales.
(19) The Moody Blues appear on CBS TV’s Ed Sullivan Show.
1966
March (8) The group appears at the Montreux Golden Rose TV festival.
April Another Laine-Pinder track “Stop!” is lifted from the UK album and released as a US single, where it spends a week on the Hot 100 at #98. (The song incidentally, is later covered by singer Julie Grant but is not a success). Secunda leaves at this point to work with The Move and is replaced by The Beatles’ manager Brian Epstein. However, he fails to lift the group’s flagging career and as a result The Moody Blues are forced to “drastically reduce their engagement fees.”
(2) The Moody Blues appear at the Club Continental, Eastbourne, East Sussex.
May (1) The band performs at the Oasis in Manchester.
(28) The Moody Blues appear at Hertford Ball, Hertford College, Oxford University with Kenny Ball’s Jazzmen, Alexis Korner, Scott, Gould & Wood, Clem and John.
(30) The group plays at the Pavilion in Bath, Avon.
June (4)Melody Maker announces that the group has undertaken a short tour of Belgium, including a TV appearance from the Casino at Knokke. The magazine also reports that the band is due to appear at the Paris Olympia on 12 June.
(15) The Moody Blues perform at the Bromel club, the Bromley Court Hotel, Kent.
(24) The group plays at the Ram Jam club in Brixton in south London. Warwick, who is disillusioned by the band’s drop in fortunes, leaves the group and quits the music business.
(29) The Moody Blues appear at the Pavilion, Hemel Hempstead, Herts.
The Moody Blues with Rod Clark (far right)
July (9) Pinder and Laine’s “This Is My House (But Nobody Calls)” (the intended b-side of the band’s forthcoming UK single) is issued in the US hitting #119.
(14) After Klaus Voorman decides not to join, Rod Clark, a bass player from Great Yarmouth, who has played with Les Garcons takes Warwick’s place, although Pinder and Thomas’s former El Riot & The Rebels cohort John Lodge (b. 20 July 1943, Birmingham, W. Midlands, UK) is rumoured to have been offered the original slot. Clark debuts at the Villa Marina in Coventry.
(30) The group appears at the Riverside Dance Club in Douglas, the Isle of Man.
August (6) The Moody Blues begin a 9-day tour of Denmark.
(20) The group appears at Town Hall, Clacton, Essex with Dave & The Strollers.
September (3) The band appears at the Black Prince in Tenbury Wells.
(10)Melody Maker reports that The Moody Blues fly to Holland for a TV show and then the next day perform in Brussels.
(15) The band plays at the Jaarbeurs in Utrecht, Holland.
(16) The Moody Blues perform at Midnight City in Birmingham with Cliff Bennett & The Rebel Rousers.
(23) The group appears at Cardiff Capitol Theatre on a bill that includes Cliff Bennett & The Rebel Rousers, The Scaffold and The Fourmost.
(28) The Moody Blues appear at the Flamingo in London in what is probably Denny Laine’s final show.
October Rod Clark leaves to join The Rockin’ Berries and John Lodge joins. Lodge, who has remained in higher education since the band’s split in February 1963, has subsequently played in local bands The Carpetbaggers and The John Bull Breed. Laine, meanwhile, anticipating Brian Wilson’s role in The Beach Boys decides to concentrate on writing and studio work.
Justin Hayward, Swindon Advertiser, September 1966
(8)Record Mirror reports that Laine has officially left The Moody Blues. He will quickly emerge with an amplified backing group The Electric String Band – a predecessor and major influence on The Electric Light Orchestra.
(12) Decca releases the group’s first single in over a year, the French-flavoured “Boulevard De La Madelaine”, written by Pinder and Laine but it isn’t a hit. On the same day, Melody Maker reports that the band appears at the Flamingo in London. To fill Laine’s position in the band, the group turns to Justin Hayward (b. David Justin Hayward, 14 October 1946, Swindon, Wilts, UK), who has played in a number of Swindon bands – The Riversiders, The Rebels, The Whispers, The Shots and All Things Bright before joining Marty Wilde’s Wildcats for two days. He then joins Marty Wilde and his wife in The Marty Wilde Three, who record the singles “Since You’ve Gone” and “I Cried” for Decca Records and on 8 April 1966 plays alongside Wilde at a charity show at the London Palladium. Hayward leaves to sign a solo deal with Pye A&R chief Alan Freeman and manager Lonnie Donegan. This results in a one-off single “London Is Behind Me”, before Hayward signs to Parlophone, which releases a second single “I Can’t Face The World Without You”. When both singles fail, Hayward writes to Eric Burdon to inquire about a position in his New Animals. Burdon, with his band already signed-up, passes Hayward’s name onto Mike Pinder. The Moody Blues move to Belgium in November to perform some gigs and to avoid the UK taxman. The band continues to perform its old R&B repertoire despite Laine’s departure and the recent changes in the UK “music scene”.
Possibly Justin Hayward and John Lodge’s debut show, 21 October 1966
December The group performs in France, where it’s still very popular.
1967
January (14) Decca releases another Pinder-Laine collaboration “Life’s Not Life”, which is withdrawn shortly afterwards.
February (18) The group appears at the Plaza Ballroom in Handsworth, West Midlands with The Traction and The Attack.
March (7) The Moody Blues play at Birmingham’s Ringway Club.
(18) The group performs at the Ritz Club, Skewen, south Wales with The King Bees and The Outer Limits.
(20) The band appears at the Broadway Club, Dudley Zoo.
(22) The Moody Blues play at Middle Earth in London.
(27) The band plays two shows in the West Midlands. The first is at the Mackadown, Kitts Green with The Monopoly. The second is at the Belfry, Wishaw with The Gods and Exception.
(30) The group drops the old repertoire (and suits) in favour of a new musical style. The band records Hayward’s “Fly Me High” and Pinder’s “Really Haven’t Got The Time” with new producer Tony Clarke as a prospective single.
April The band signs up (along with The Supremes and Ray Charles) to promote Coca-Cola in the teen market. The company’s $10 million campaign requires each artist to record a radio jingle in their own style but featuring the slogan Things Go Better With Coke. The band embarks on a gruelling tour of the Northern club circuit, including a spot at Newcastle’s Cavendish club.
(1) The band appears at the Royal Lido, Prestatyn, Clwyd, Wales with The Raynes.
(2) The Moody Blues play at the Cosmo in Carlisle, Cumbria with The Fix.
(14) Denny Laine releases his debut single with The Electric String Band “Say You Don’t Mind” which fails to chart; although ex-Zombies singer Colin Blunstone will later score a top 20 hit with it in 1972.
May (5) The Moody Blues release their first single with the new line-up, “Fly Me High” which is not a success despite being a popular radio hit. The band embarks on a brief tour of Scandinavia.
(19) The band shares a double bill with former group leader Denny Laine at London club, Tiles.
(27) Plans are unveiled for the group to appear on a US colour TV special as “Fly Me High” is given an American release.
June (10) They play the Fete and Donkey Derby in Sutton Coldfield, West Midlands with The Ugly’s and The Bobcats.
(12) The Moody Blues appear at Christ College, Cambridge with The Who and The Herd.
(22) The band appears at Middle Earth with Pink Floyd.
(29) The group records Hayward’s “Leave This Man Alone”.
July (9) The band plays at the Roundhouse with Pink Floyd and The Outer Limits.
(17) The Moody Blues record Pinder’s ambitious “Love & Beauty”, which is the first track to feature the band’s characteristic symphonic sound, created with the use of the mellotron. Shortly afterwards the band introduces its new style at the Glastonbury Festival and is an immediate success.
(28) The Moody Blues appear at the Clay Pigeon in Eastcote, northwest London.
(29) The group performs at the London club, the Upper Cut with The Maze.
August The Moody Blues embark on a “summer” tour of France. The group appears at the Midem Music Festival in Cannes performing most of the songs that will subsequently appear on its forthcoming album.
September (7) The group opens for The Pink Floyd at the Roundhouse, Chalk Farm, London.
(13) The band appears at the Catacombe in Eastbourne, East Sussex.
(22) The Moody Blues release Pinder’s “Love & Beauty” as a single, but it isn’t a hit.
October (8) Signed to Decca’s new progressive label, Deram, the band begins work on its first album in over two years, recording Hayward’s epic “Nights In White Satin”. The group were originally invited to record a stereo version of Dvorak’s New World Symphony with classical backing from The London Festival Orchestra, conducted by Peter Knight, but is allowed to record its stage show, loosely based around a day in the life of a fictional character, instead.
1968
January Extracted from the album, Hayward’s “Nights In White Satin” climbs to UK #19 as parent album reaches #27.
(12) Laine meanwhile, disbands The Electric String Band after his second solo single “Too Much In Love” and moves to Spain to study flamenco guitar.
(19) The Moody Blues play at the Punch Bowl, Lapworth, West Midlands.
(20) The group travels to France to appear at the Midem Music Festival in Cannes, later that week.
February (3) The Moody Blues begin a UK tour at the Nelson Imperial, Lancashire. The tour will conclude at Reading University on March 15.
(10) In the US “Nights In White Satin” only reaches #103.
March (13) The group appears at Birmingham Town Hall with The Spencer Davis Group, Manfred Mann, Don Partridge and Piccadilly Line.
(22) The Moody Blues perform at Middle Earth, Covent Garden, London.
May (4)Days Of Future Past enters the US chart at #3 and earns the group its first gold disk, during a chart run of 102 weeks.
June Hayward’s “Voices In The Sky” is lifted from the band’s forthcoming album and reaches UK #27.
(29) The Moody Blues make a rare concert appearance at London’s Queen Elizabeth Hall.
The Moody Blues appear near Canterbury on 1 August 1968
August The group’s third album, In Search Of The Lost Chord, another concept album, climbs to UK #5. (The band is performing in the former Czechoslovakia at the time and when the Russian army moves in are quickly asked to leave the country by the British Consulate.)
September Hayward’s “Tuesday Afternoon” is taken from Days Of Future Past and belatedly released as a US single, where it hits #24. In Search Of A Lost Chord, rises to US #23 and earns a second gold disk.
October (4) The Moody Blues play at the Corn Exchange, Braintree, Essex.
(11) The group records non-album track “A Simple Game”, written by Mike Pinder.
(21-24) The band is supported by Chicago at the Fillmore West, San Francisco.
(25-26) The group flies to New York City to appear at the Fillmore East with John Mayall’s Bluesbreakers and Rhinoceros.
November (1) Having supported Cream during their final US tour, the group appears at Madison Square Gardens, New York, for Cream’s final US date. “Ride My See Saw”, written by Lodge, is extracted from the new album and makes US #61.
December “Ride My See Saw” hits UK #42. The single’s b-side “A Simple Game” is later a UK #3 for The Four Tops with Clarke producing. (The Four Tops will also cover another Mike Pinder song, “So Deep Within You” from The Moody Blues’ next album). The band performs its last US dates in Vancouver, Canada.
1969
March (11) The group appears at the Grand Gala Du Disque, Amsterdam, Holland on a bill including Gladys Knight & The Pips.
April Hayward’s “Never Comes The Day” is released as a single but fails to chart.
MayOn The Threshold Of A Dream tops the UK chart for 2 weeks and climbs to US #20 during a 136-week chart run, the Moody Blues’ third gold disk.
(2) The band appears at Bridge Place Country Club, at Bridge near Canterbury, Kent.
July “Never Comes The Day” reaches US #91. Denny Laine meanwhile returns from Spain and joins ex-Move member Trevor Burton in Balls.
August (1) The band appears at Bridge Place Country Club, at Bridge near Canterbury, Kent.
(30) The Moody Blues play on the opening day of the Isle Of Wight Festival.
October Hayward and Thomas’s “Watching And Waiting” is the first single to be released on the group’s own Threshold label.
December The Moody Blues’ new album To Our Children’s Children’s Children hits UK #2 as the band moves to Cobham, Surrey to open the first Threshold record store.
(12) The band performs at the Royal Albert Hall, London, during a UK tour. The concert is recorded (and released as part of Caught Live Plus 5 in June 1977).
1970
January The group’s new album is released in the US and makes #14 becoming the band’s fourth gold disk
March (20-21) The band is supported by Argent and Lee Michaels at New York’s Fillmore East.
April (2/11)The Moody Blues are supported by Richie Havens at the Berkeley Community Theatre, California.
May Hayward’s dramatic “Question” hits UK #2, held from the top by the England World Cup Squad’s “Back Home”. Laine, who has recently joined Ginger Baker’s Airforce sings lead vocal on their cover of Bob Dylan’s “Man Of Constant Sorrow” which hits US #85 on 30 May.
June “Question” reaches US #21.
August The Moody Blues’ new album A Question Of Balance, written and recorded in 5 weeks, hits UK #1 for 3 weeks. (30) The group plays on the final day of the second Isle Of Wight Festival.
SeptemberA Question Of Balance makes US #3 and earns the band its fifth gold disk.
October (30) The band performs at London’s Royal Festival Hall.
December (3) The Moody Blues embark on a US tour making their Carnegie Hall, New York debut on 14 December.
1971
August Laine joins Paul McCartney’s Wings.
1974
February After two further albums, Every Good Boy Deserves Favour (1971) and Seventh Sojourn (1972), which both earn a gold disk, and a 9-month world tour, The Moody Blues decide to split for the time being to concentrate on solo projects. (Hayward’s solo career will be the most enduring and successful).
1978
June The band re-unites for a new album, Octave which hits UK #6 and US #13, and becomes the Moody Blues’ first platinum disk. However, during the recording of the album, producer Tony Clarke leaves followed soon afterwards by Mike Pinder; both have been closely identified with the development of the band’s symphonic sound. Pinder is replaced by ex-Refugee member Patrick Moraz, who remains with The Moody Blues into the 1980s, and helps them to become one of the top selling bands of the decade. Pinder meanwhile, remains in the US and emerges in 1995 with second solo effort Among The Stars.
Sources:
Portsmouth’s Birdcage dates by Dave Allen.
Time Machine, August 1965, by Johnny Black, Mojo Magazine, August 1995.
Call Up The Groups – The Golden Age Of British Beat (1962-1967), by Alan Clayson, Blandford Press, 1985.
Denny Laine, by Alan Clayson, Record Collector, #191, July 1995.
Time Machine, October 1966, by Fred Dellar, Mojo Magazine October 1996.
Collectable 45s of the Swinging ‘60s, by Pete Dickerson and Mike Gordon, The Vintage Record Centre, 1984.
Art Of Rock – Posters From Presley To Punk, by Paul D Grushkin, Artabras, Cross River Press Ltd, 1987.
The Castle – Love #2, by David Peter Housden, 1993.
The Castle – Love #9, by David Peter Housden, 1995.
The Moody Blues UK Singles & UK Albums, by Tim Joseph, Record Collector, #81 & 82, April & May 1986.
Karnbach, James and Bernson, Carol. The Complete Recording Guide To The Rolling Stones. Aurum Press, 1997, pages 111, 112 and 115. Pink Floyd In The Flesh book, page 43.
The Moody Blues, by John Reed, Record Collector, November 1996, #207, pages 64-71.
Book Of Rock Stars, 2nd Edition, by Dafydd Rees and Luke Crampton, Guinness Publishing Ltd, 1991.
Sleeve notes to album This Is The Moody Blues, by John Tracy, 1989.
Joel Whitburn’s Bubbling Under Hot 100 1959-1985, by Joel Whitburn, Billboard Record Research Inc, 1985.
Joel Whitburn’s Pop Annual 1955-1994, by Joel Whitburn, Billboard Record Research Inc, 1995.
Birmingham Evening Mail 1967-1968. Disc, May 27, 1967, page 4. Melody Maker, March 5, 1966, pages 5; April 2, 1966, page 13; June 4, 1966, page 5; June 11, 1966, page 13; June 25, 1966, page 13; May 20, 1967, page 5; July 29, 1967, page 12; January 6, 1968, page 3 and March 23, 1968, page 14. NME, week ending January 20, 1968.
Kerrilee Male (vocals) Michael Rosen (guitar, vocals, trumpet) Georg Hultgreen (guitar, vocals) Trevor Lucas (bass, vocals) Gerry Conway (drums)
1967
August Canadian singer/songwriter and guitarist Mike Rosen is living in London and meets Norwegian singer/songwriter and guitarist Georg Hultgreen (b. Prince Georg Johan Tchegodaieff, Trondheim, Norway) in a restaurant in Bayswater called Bangers, where he is playing Gordon Lightfoot songs on his 12-string guitar. Hultgreen is the son of Russian prince Pavel Tchegodaieff and Finnish sculptress Johanna Kajanus. They suggest forming a group and round up players from the folk-rock scene. Australian singer/guitarist Trevor Lucas (b. 25 December 1943, Melbourne, Australia; d. 4 February 1989) is recruited after the pair see him perform at the Cambridge Folk Festival and he recommends fellow Australian Kerrilee Male (Newsome) as a singer. Lucas has recorded several albums in Australia before moving the UK in 1965 while Male has previously been a member of Dave’s Place Group with Dave Guard from The Kingston Trio. The final piece in the jigsaw is English drummer Gerry Conway (b. 11 September 1947, King’s Lynn, Norfolk), who was previously a member of Alexis Korner’s backing group. Rosen’s friend, Joni Mitchell names the band, Eclection because in her words, they were such an eclectic bunch. October (16) Band members, Trevor Lucas and Kerrilee Male appear at the Royal Festival Hall for a folk festival, which features a number of artists, including future Eclection singer Dorris Henderson. December (1) Eclection appear at Middle Earth in London, opening for visiting US act, The Electric Prunes.
1968
April (30)Eclection appear on BBC Radio 1’s Top Gear performing Mark Time, In Her Mind, In The Early Days, Morning of Yesterday and Confusion, which is broadcast on 12 May. June Eclection hold a press reception at London’s Revolution club. (21) The group’s debut single, Rosen’s Nevertheless backed by the non-album single, Hultgreen’s Mark Time is released but does not chart. Around this time, Eclection appear at the Paradiso club in Amsterdam and appear on Dutch TV. (28) Eclection perform seven songs from their forthcoming album on BBC 2’s Colour Me Pop, including In The Early Days, Morning of Yesterday, Nevertheless, Mark Time and Another Time, Another Place. July (23) Eclection record a second John Peel session for BBC radio, recording Another Time, Another Place, Nevertheless, St Georg & The Dragon and Will You Be The Same? The show is broadcast on 28 July. August (24) The band joins Ten Years After, Family, Peter Sarstedt, Fleetwood Mac, Stefan Grossman, Roy Harper, Fairport Convention and The Deviants for a show in Hyde Park, London. (30) Eclection’s eponymous debut album, produced by Australian Ossie Byrne, is released in the UK to critical acclaim. September (1)The group appears on John Peel’s Top Gear with Tim Hardin, Fairport Convention and Fleetwood Mac. (4)The band makes its debut at the Marquee in London, supporting by Keef Hartley. (11) The Eclection return the following week to the Marquee with Gordon Smith the opening act. (15) The band plays at the Bird Cage, Harlow. (25) They appear at Eel Pie Island, Twickenham, Middlesex with Village in support. (29) The band performs at Fairfield Hall, Croydon, Surrey with Jethro Tull, David Ackles, The Alan Price Set, Spooky Tooth, The Nice and Julie Driscoll & The Brian Auger Trinity. October (5)Eclection travel to Birmingham and appear at Mothers with Ron Greesin. (11) The group’s second single, a cover of US folk-rock band, Kaleidoscope’s Please, which is another non-album track, is released but fails to chart. The group plays a show at the Factory in Birmingham. (12)They appear at Brunel University, Uxbridge, Middlesex with Proteus. (16) The band is guest group on BBC 1’s Friday Play where they perform their latest single. American singer Dorris Henderson (b. 1933, Lakeland, Florida; d. 3 March 2005) replaces Kerrilee Male, who leaves after recording their second single. Male holidays in Rome, Italy while trying to decide on her future plans and eventually returns to Australia. (23) Eclection play at the Marquee in London supported by Pegasus. November Eclection’s latest single Please is re-released with Dorris Henderson’s lead vocal replacing Male’s. (6) The band appears at the Marquee in London, supported by East of Eden. (8) The group performs at the Student’s Union, Battersea, London. (19) Eclection record a John Peel session with producer Bernie Andrews at the BBC’s Piccadilly Studio 1, which comprises Please and three new songs: If I Love Her, Days Left Behind and Time For Love. The session log lists Kerry Male as female singer rather than Dorris Henderson and the show is broadcast on 18 December. December (1) The Beach Boys kick off a 10-day UK tour at the London Palladium with Eclection in support. (8) As part of the tour, they appear at the Astoria, Finsbury Park, London. (14) Eclection appear at Mothers in Birmingham with Ron Greesin. (28) The band plays at Leyton Baths Hall, Leyton, Essex.
1969
January (23) Eclection play at the Speakeasy in London. (25)The group performs at Lanchester Arts Festival in Coventry with Family. (28) The band is supported by Milkwood at Klook’s Kleek, West Hampstead. February (7)Eclection play at Mothers in Birmingham. (28) The band appears at the Fishmonger’s Arms, Wood Green. April (6) After Eclection shares the bill with Fairport Convention at Mothers in Birmingham, Mike Rosen leaves. The remaining members recruit top jazz guitarist Gary Boyle (b. 24 November 1941, Patna, Behar, India) from The Brian Auger Trinity and vibes player John “Poli” Palmer (b. 25 May 1943, Evesham, Worcestershire), formely a member of Blossom Toes. (21) Eclection’s new line up records another BBC John Peel session with producer Bernie Andrews at the Playhouse Theatre. The session comprises a cover of Joni Mitchell’s Both Sides Now, three new numbers written by Hultgreen: Earth, Restitution and Put On Your Face and the uncredited Charity. The show is broadcast on 27 April. (23)The revised line up appears at the Pavilion in Hemel Hempstead. (25)The group returns to Birmingham to play a show at Mothers. (26) Eclection perform at Portsmouth College of Education with Harmony Grass. May (11) Eclection play at Mothers in Birmingham with Fairport Convention. (14) The band appears at East Ham Town Hall with The Gods. (20) The group plays at the Speakeasy in London. (29) Sharing the bill with Yes, King Crimson, Bridget St John and Principal Edwards, Eclection appear at the Van Dyke Club in Plymouth, Devon. When Julie Driscoll leaves his band, Brian Auger contacts Gary Boyle and asks him to rejoin. The guitarist leaves just before a prestigious show at the Albert Hall the following week. June (5)Stripped down to a quintet, Eclection appear at the Albert Hall supporting American singer/songwriter Richie Havens. A third single, Rosen’s Confusion, taken from the band’s album is set for release and then delayed. July (6) Eclection play at Mothers in Birmingham with Fairport Convention. (7)The band returns to the Marquee in London supported by Grail. (21) The group plays another show at the Marquee, once again supported by Grail. (25) Eclection join Roy Harper and The Liverpool Scene for a show at the Lyceum on the Strand in London. (26)The band appears alongside Family at the Dunstable Civic Hall. August (3)The group plays at the Country Club in Belsize Park, London. (4) The band performs at the Marquee in London, supported by Cressida. (17) They play at the Nottingham Boat Club. (24) Eclection appear at the Roundhouse, Chalk Farm, London with Quintessence, Stray and Mariupilami. (25)The group performs another show at the Marquee in London. (29-31)Eclection appear at the Isle of Wight Festival, which features The Pretty Things, Mighty Baby, Bonzo Dog Doo Dah Band, The Nice, Gypsy, Blonde on Blonde, Blodwyn Pig, Edgar Broughton Band, Aynsley Dunbar, Marsha Hunt and White Trash, Family, Free, The Who, Fat Matress, Joe Cocker, The Moody Blues, The Liverpool Scene, Third Ear Band, Indo Jazz Fusions, Gary Farr, Tom Paxton, Pentangle, Julie Felix, Richie Havens, The Band and Bob Dylan. Soon after their appearance, Hultgreen leaves the band. He subsequently adopts his mother’s maiden name Kajanus and forms the group, Sailor, which scores with a UK #2 hit with A Glass of Champagne in 1975 and a UK #7 hit with Girls, Girls, Girls in 1977, both penned by Kajanus. SeptemberAfter getting married and visiting his wife’s parents in New York, sailing on the QE2, former member Mike Rosen returns to the UK and joins James Litherland’s Brotherhood, which later changes name to Mogul Thrash. (6) Eclection make an appearance at the Dunstable Music Festival in Queensbury Hall, Dunstable, Bedfordshire with Fleetwood Mac, Junior Eyes and Eire Apparent. (12)The band plays at the Fishmongers Arms, Wood Green, London. (17)Eclection appear at the Railway Hotel, Bishop Stortford. (20)They play at Dudley Town Hall, Dudley. (23)The group performs at the Speakeasy in London. (26) Travelling to Birmingham, they appear at Mothers. (27) Eclection play at Philippa Fawcett College, Streatham, London. (28)The group performs at Redcar Coatham Hotel with The Third Ear Band. (29) The band makes its final Marquee appearance supported by Gypsy. October (3)The group joins Blodwyn Pig and Aynsley Dunbar for a show at University College, London. (4) Eclection play at St Mary’s College, Strawberry Hill, Twickenham. (16)They appear at Green’s Playhouse, Glasgow with Fleetwood Mac and The Sleaz Band. (25) The band plays Barking College in Dagenham, Essex. November (2)Eclection appear at the Country Club, Belsize Park, London. (8) The group performs at Essex University in Colchester with East of Eden also on the bill. (9) Eclection play at the Wake Arms in Loughton. (21)The band appears at King’s College on the Strand with Shape of The Rain. (23) They are due to appear at the Nottingham Boat Club but the show is cancelled and Clouds take their place. (29) Eclection, The John Dummer Blues Group and Gracious appear at Chelsea College, London. December (5)The group plays one of its final shows at Goldsmith’s College in New Cross, London with Tech-Neek and The Night People. Palmer leaves to join Family while Lucas and Conway form Fotheringay with Lucas’s girlfriend, Sandy Denny from Fairport Convention. Henderson returns to a solo career but later revives the band’s name with new players.
Sources:
Down at the Boat: The bands that played at the Nottingham Boat Club by Keith and Juliet Atkinson and Tony James. London Live by Tony Bacon, Balafron Press, 1999. Mothers 1968-1971 by Kevin Duffy, Birmingham City Council, 1997. Peel Sessions by Ken Gardner, BBC Books, 2007. Revelation, Elektra Records’ newsletter Strange Brew – Eric Clapton & The British Blues Boom 1965-1970, by Christopher Hjort, Jawbone Press, 2007 Time Out magazine, 1968-1969 Richie Unterberger’s liner notes to Eclection CD re-issue on Collector’s Choice Music Valentine, 2 November 1968
Thank you to Georg Kajanus and Gary Boyle for their input in this article.
I would particularly like to acknowledge Mike Capewell’s exhaustive site for material: www.marmalade-skies.co.uk/
I have tried to ensure the accuracy of this article but I appreciate that there are likely to be errors and omissions. I would appreciate any feedback from anyone who can provide any additions or corrections. Email: Warchive@aol.com
John Parker Compton talks to Nick Warburton about Appaloosa, Compton & Batteau and his early solo career.
Am I right that you are a native of Boston? Tell me about your early musical influences and what prompted you to take up the guitar and write such brilliantly observational songs?
I grew up in Cambridge, MA across the river from Boston. It was a ten-minute walk from my house to Harvard Square and the infamous Club 47. As a young and impressionable teenager I got to see many great performers like Joan Baez, Tim Hardin, Paul Butterfield Blues Band, Richard & Mimi Farina, and Jim Kweskin Jug Band. Club 47 was a small and intimate club and all these shows were mind blowing. Boston also had some fantastic folk clubs at the bottom of Beacon Hill, like the Sword in the Stone Coffeehouse and the Turk’s Head Coffeehouse and also two great jazz and blues clubs on Newbury Street called Paul’s Mall and the Jazz Workshop that featured acts like Chuck Berry, Pharoah Sanders, John Hammond and Mose Alison.
The Beatles’ “Michelle” was a worldwide hit in 1964 and it really made a huge impression on me and helped me to understand that the violin and guitar should be right next to the singer in the mix. Gordon Lightfoot’s “If You Could Read My Mind” and Donovan’s “Jennifer Juniper” really set the stage for the era of mellow folk rock. The two records that had the most influence on me at that time and still today are the amazing Tim Hardin I and Tim Hardin II recordings. The production is so beautiful and Tim’s poetry and vocal delivery are just too much. I used to listen to these records non-stop. I’ll never forget the first time I heard Tim Hardin’s “Misty Roses” on the radio late one night. It totally blew my mind. Tim Hardin I & II are un-like any other records except for George Moustaki’s French masterpiece recorded in 1969 that features his hit songs “Il Est Trop Tard” and “Ma Solitude” that my wife introduced me to.
What prompted me to take up the guitar was listening to the delicate double-octave guitar style of Peter, Paul & Mary, where one guitar is playing in C and the second guitar is playing in G with a capo on the 6th fret creating a rich harmonic symphony. After hearing their music I quickly ended my classical guitar lessons and moved over to folk music.
When I was sixteen I attended a small boarding school in farm country in upstate New York and was fortunate to have a great English teacher who taught poetry brilliantly. I wrote the lyrics to “Tulu Rogers” and “Pascal’s Paradox” first as poems for a poetry homework assignment and soon turned them into songs.
John Compton, 1972. Photo copyright Frank Siteman.
You began playing as a solo artist in folk clubs in Boston when you were only seventeen. I believe you ran into Van Morrison during 1968 when you were only a year older and he critiqued your early songs. That must have been quite an experience?
Paul McNeil who I will always think of as the “Gordon Lightfoot of New England” helped me get my first job at the Sword in the Stone Coffeehouse and from there at the tender age of seventeen I started playing the folk circuit as a solo performer.
I remember in 12th grade coming home for vacation from boarding school and hearing that Van Morrison had just moved to Cambridge. I didn’t believe it at first. Then I heard that my friend John Sheldon who was 16 at the time was playing lead guitar in Van’s new band! This was just too much and sounded like some unreal movie plot. I didn’t believe it until a second friend confirmed the story.
One evening I rode my bicycle over to John’s parents house and lo and behold, as I walked into John’s basement there was Van Morrison singing “Rosie” backed by an electric trio. The intensity and power of Van’s vocal delivery was incredible. It knocked me out. After attending Van’s rehearsals, I got up the courage to walk up to and talk to Van and ask him if I could play one of my songs for him sometime. Much to my amazement Van replied in his thick accent, “Sure, stop by his house sometime.”
Standing on Van’s porch a few weeks later, excited and nervous, I rang his doorbell. Van’s wife Janet Planet opened the door and invited me in and showed me into their kitchen as Van’s children ran around their small house. Van came downstairs and I handed him a reel-to-reel tape of my recordings and he threaded them onto a Wollensak tape recorder sitting on his kitchen table. He listened to my song “Subway” and a few others and then he replied, “I like your songs.” That was a meeting that I will always cherish.
In 1975, I tracked down Van’s production company in England and sent him an “Appaloosa” LP and the Compton & Batteau “In California” LP. A year later, Van played a concert at the Harvard Square Theater in Cambridge and I ran into him walking in front of the theater just before his concert. I asked Van if he ever received the LPs that I sent to him, to which he replied in his strong accent, “Yeah John, thanks, I put them on cassette.” I couldn’t believe it.
Soon after this encounter, you started working with David Batteau, who introduced you to his brother Robin, a violin virtuoso. What were your first impressions of your soon-to-be collaborator and what attracted you to him in terms of working together?
David Batteau and I were former schoolmates, so one day I invited David (who later wrote many hit songs like Robert Palmer’s “Addicted to Love” and a great song called “Tell Her She’s Lovely”) to play cello at one of my early gigs in Boston. One afternoon while practicing at David’s house his brother Robin walked in with his violin and it just clicked. Robin intuitively played each song perfectly the first time, after only listening to it for a minute.
One weekend I invited Robin to a gig that I played every Sunday afternoon at Christ Church’s Outdoor Concerts Series hosted by Bob Gordon on the Cambridge Common. We were the only acoustic folk act and people liked us. From that point on we performed there every weekend during the next two summers.
One of your shows as a duo – a gig at the Turk’s Head Coffeehouse – was captured on tape and released by MC Records in 2006. How did they stumble across the tapes?
I found the tapes a few years ago and sent them to Audio-Resorations.com – not knowing how many songs were on them. The tapes had been in storage for 35 years but amazingly they sounded fine. The recordings really highlight Robin’s unique violin live performance style. I released the songs on my VMC label. (I highly recommend Mark Lyons at Audio-Restorations.com. He does an incredible job restoring tapes and also transferring LPs to CD).
Among the seven tracks from this show are a couple of songs – “Subway” and “Green Brown Sound” – that were not used by your subsequent project, Appaloosa. How come?
When we first met Al Kooper, he booked a demo recording session at Columbia Studios and we recorded twenty-two songs. Al picked eleven of the twenty-two songs for our LP.
The remainder of the tracks on the VMC CD “John Parker Compton – Live at the Turk’s Head Coffeehouse” were sourced from a recording at WHRB studios in Cambridge and a home reel-to-reel tape machine. Tell me about these recordings because once again there are a handful of songs that you didn’t revisit such as “Loving Her Makes Today” and “We Can Forget.”
It was customary after playing a radio show in those days to get a reel-to-reel tape of the radio broadcast. The home recordings were done at boarding school and at Robin’s house on a Wollensak tape recorder.
It’s fascinating listening to these live recordings because the songs that turned up on the Appaloosa album sound pretty well formed and this was only months away from you demoing them for Al Kooper. Can you reveal some of the inspirations behind these songs?
Robin and I had played the songs at coffeehouses for about a year before we recorded “Appaloosa.” I wrote most of the songs for “Appaloosa” for my girlfriend at boarding school. The inspiration for “Pascal’s Paradox” came about in a chemistry class while having the theory of Pascal’s Paradox explained and drawn on the blackboard. I wrote “Thoughts of Polly” for my stepbrother’s girlfriend and soon to be wife Polly. The song is in open D tuning. ”Rosalie” is another girlfriend song and in open G tuning. The song “Glossolalia” came about in a funny way. We got a gig a Gordon College in a town north of Boston. We didn’t know until we arrived at the college that it was a religious institution. Our concert was held in the college chapel and while standing on the steps of the stone church waiting to go in, I noticed a service schedule on the side of the door that mentioned the word “Glossolalia.” I had never seen the word before but I liked the way it sounded and used it for a girl’s name.
How did you meet the other musicians that made up Appaloosa and where did the name come from?
David Reiser and I were former schoolmates. Eugene Rosov was easy to find: he was living at the Batteau’s house and going to Harvard and rounded out our sound perfectly. Prior to recording our “Appaloosa” LP, Robin and I recorded two of my songs, “Rosalie” and “Downtown Row” at Intermedia Sound in Boston. It was a beautiful studio. We asked David to play Fender bass for the session. David was only 16 but a real pro bassist and played with several bands at many of Boston’s jazz clubs. The recording session went so well that the owner of the studio offered to print us a hundred 45s. I remember that we got them added to some jukeboxes at various locations around town. David suggested the name “Appaloosa” for the band.
Can you tell me about the recording of Appaloosa’s album? Did you record as a band and then Al Kooper brought in members of Blood, Sweat & Tears and other side players to complete the tracks or did you record together?
We recorded all of the songs as a live band, doing several takes and picking the best one. Bobby Columby (BS&T drummer) recorded with us on songs like “Feathers”, “Yesterday’s Roads”, “Rosalie” “Thoughts of Polly” and “Georgia Street.” It was such a thrill to watch Bobby play in his theatrical drumming style. Bobby’s timing was always perfect and he really put his heart and soul into each song. He was a super funny guy and also telling us jokes in between sessions and this really helped relax us since it was our first time in New York.
Fred Lipsius added the great saxophone part on “Thoughts of Polly” as an add-on track. He recorded it in the control as we all sat there and then Al said, “Let’s play the saxophone track backwards”. That’s why his part sounds so mysterious.
We recorded “Now That I Want You” and “Bi-Weekly” live in CBS’ larger studio in the center of Manhattan with a horn section. Al brought in Charlie Calello (Laura Nyro’s producer/arranger) to do the horn arrangements. Al also asked Laura Nyro’s guitar player to the session and he added the nice Glen Campbell-ish lead guitar on “Bi-Weekly.” Kooper was also super kind to us. I remember one evening he invited us to apartment to meet his wife and they both made us popcorn.
“Now That I Want You” screamed to be released as a single and I am sure would have been a hit. How well do you think the label promoted you as an act and got behind the album?
“Now That I Want You” was our signature song at live shows. Robin’s violin lead allows wowed the audience and me everytime. His double-string violin technique is really something else. I fondly remember how Clive Davis, Columbia’s president at the time, was such a gentleman to us and was super-friendly and supportive. Unfortunately, we didn’t have a manager so we had no one to talk to Columbia. We were just teenagers and so naive and amazed to be in a big city.
Are there any memorable live dates from this period that you performed as a group?
Playing the Filmore East was exciting. We opened for the Allman Brothers. I remember Gregg Allman saying to us when we walked past their dressing room, “Hey, where are your groupies?” and Eugene Rosov our cellist held up and pointed to a book by Francis Bacon that he was carrying from one of his courses at Harvard. I’d love to find a tape of that show. We also opened for the Young Rascals at Harvard Stadium on a beautiful autumn day and we opened for Van Morrison in Boston. Earlier, in 1968, Robin and I opened for Tim Hardin for his weeklong gig at the Jazz Workshop. I was scared to meet Tim Hardin in person, having personally seen him when I was younger throw a glass ashtray at someone in the audience after he asked everyone to be quiet. But Tim Hardin was a gentleman and invited us all out to dinner with him after the concerts.
Appaloosa performed on two television shows, one on PBS Television for Boston and also on “Steve Paul’s Scene” a music show in New York City. I tried unsuccessfully to find the tapes of the broadcasts.
You penned all of the songs for the Appaloosa album. Did the others see it as a democratic band or really your musical baby? What prompted Eugene Rosov and David Reiser to leave?
I came with the songs and Robin, Eugene and David added the arrangements. Eugene Rosov went back to Harvard University and David joined a jazz band.
With the group dead in the water, you and Robin decided to head for California. What made you decide to relocate to the West Coast?
Robin’s wife at the time was attending one of the Pomona College’s outside of Los Angeles so I convinced a friend of mine to drive out to California and visit them. As soon as we arrived, Robin and I drove into Hollywood and met an A&R guy at Columbia named Eddie Mathews and he signed us to do our second Columbia record.
Like “Appaloosa” I am a huge fan of Compton and Batteau’s “In California”. Even though you dominate the songwriting, it seems to be more of a partnership with Robin now singing and writing a couple of tracks, one of which I believe was issued as a single.
Robin asked to add two songs. Robin’s song “California” is a great song and really has an AM radio vibe. The song was released as a single.
How did the “In California” album come about? Did you write the songs for it once you’d got out to Los Angeles or were some written prior to moving?
We got signed to Columbia the first week I arrived and we immediately started working with our producer Abner Spector (no relation to Phil Spector). I wrote some of the songs prior to the trip west and rest of the songs in California while living there.
The support group features keyboard player Bill Elliott who also turns up on your debut solo album. How did you find him?
Bill grew up in a town next to Cambridge where I lived. The first time I heard Bill play was with Lorin Rowan and I was knocked out. He’s like a modern day Mozart and really looked the part back then. So I called Bill and invited him out to record with us in California. Bill is one of the most gifted keyboard players I know. He’s right up there with Al Kooper. Like Robin, Bill only needs to hear a song once and he already knows it perfectly. Bill’s piano playing adds so much to my songs. I remember we went to a musical rental store and rented a harpsichord for my song “Essa Vanessa.” And of course the studio was well stocked with beautiful grand pianos and Hammond B3 organs. I miss those days when you had to spend an hour setting up the microphones around a piano. Now pianos are recorded using computer chips.
Who was responsible for bringing in Poco members Jim Messina and Rusty Young and Rick Nelson sidemen Randy Meisner and Pat Shanahan? What do you think these musicians added compared to the musicians that Al drafted in on the Appaloosa album?
Poco was recording in the studio across the hall from us at CBS in Hollywood. One day in between sessions I saw Jim Messina sitting playing electric guitar wearing bright red cowboy boots. What a thrill to have Jim offer to record with us. His lead guitar work on “Honeysuckle” is so upbeat. And having Randy and Pat record live with us on songs like “Homesick Kid” was a dream come true. We recorded the songs as a live band.
Did you go out and play any live gigs as a duo once you hit the West Coast? Any notable shows?
We played at the University of Ohio for a week and recorded all the shows. I had the tapes for years but one day they disappeared. We also performed at the Anti-Vietnam War Concert in Washington, D.C. in 1971 to a crowd of 50,000 people and the following day to a similar crowd at an outdoor concert in Boston at the Boston Commons.
Am I right that while you were recording “In California”, Sly & The Family Stone were recording next door?
Yes. Everyday we would see Sly arriving in his Winnebego mobile home wearing these knee-high fur boots. It was quite a sight. One of my all-time favorite records is Sly & the Family Stone’s masterpiece “Fresh.” What an amazing record.
There are some absolutely brilliant songs on this record like “Laughter Turns to Blue”, “Proposition” and “Homesick Kid” – what prompted you to write this new batch of material?
“Laughter Turns to Blue” was inspired by the great lyric imagery in the Christmas song “Good King Wenceslas.” I wrote “Propositions” as my response to the U.S. army draft and being ordered down the U.S. Army barracks in Boston to take a physical. Living through the days of the Vietnam War was so intense. I wrote the song because at least I lived. I wrote “Homesick Kid” for a girl that I met in Berkley, CA.
There was a three-year gap between “In California” and “To Luna”. How did you keep yourself busy?
I bought a farm built outside of Cambridge and played at various clubs in the area.
I always think your image on the cover of “To Luna” reminds me of Beck twenty years later. Where was that shot taken?
A photographer named Frank Siteman (www.franksiteman.com) who was a friend of Robin’s and mine offered to take the album cover for the “To Luna” LP. I showed up at Frank’s place having no idea what to expect for the photo session. We drove out to a nearby beach where Frank took the album cover photo with the lunar-looking landscape. The Muslim clothing that he brought for the session adds a unique look. Frank also took the B&W photos that I feature on my You Tube video for “Feathers” (Live at the Turk’s Head Coffeehouse) on www.youtube.com/appaloosa1969.
“Polinate The Blue” ventures into new territory for you – a sort of bluesy, funk stew. Did you feel as a solo artist you were freed up to experiment in a heavier material?
That song and also the songs “Lookout”, “Maker” and “Ona Find Me Home” are the result of me listening to a record that really influenced me: Dr. John’s Cajun-stew funk classic recording “Dr. John the Night Tripper.” Gris-Gris Gumbo Yah! (I later used the female back up singers influence on my second solo recording “Mother of Mercy” CD in 1995.) Dr. John’s grumbly lead vocal set against the female back up singers and wild percussion and lead guitar creates such an incredible atmosphere. I wonder if his classic song “Walk On Guilded Splinters” has ever been used as a movie picture soundtrack?
Harvey Brooks and Billy Mundi were regulars up in Bearsville but where did Roland Dufault, who adds some sparkingly lead guitar, David Mowry and Stu come from?
First, I want to say that recording with Harvey Brooks and Billy Mundi was an unbelievable experience. They were like a high performance engine in the studio. Roland Dufault went to my boarding school in upstate New York. I met David Mowry at the Cambridge Common concerts. David’s vocal delivery in those days sounded exactly like Richie Havens. When you were walking up to the concert from a distance you would swear that it was Richie Havens singing on stage. David plays guitar like an acoustic Carlos Santana and is an incredible live performer. Both Roland and David really added a great vibe to my “To Luna” LP.
How did you get to record up at Bearsville, most famous being the Band’s home patch?
It was a fluke. Robin and I were driving somewhere and Robin’s VW broke down just outside of Woodstock, NY on a cold winter night. I worked on the engine in the cold but there was one part that wouldn’t budge. We hitchhiked into Woodstock and we ended up at a bar named the Bear Cafe. We had our instruments with us and someone yelled out, “Hey, play us a song!” Peter Edminston was in the audience and called me a year later and offered to produce my “To Luna” LP.
What is the intriguingly titled “Leave My Casos in Laos” about?
It’s about the insane wars that America waged in Southeast Asia in the late 1960s and early 1970s. I wrote the song in the spirit of someone who had been drafted into the army and killed in action and who left a note saying that they would like to be buried in the foreign land.
My personal favorite on the album is the hypnotic “Shortlands” which features Bill Elliot, first heard on “In California” providing some heart rendering piano work. What inspired this song?
I wrote the song about my girlfriend at the time, as a way to say that we had plenty but in actually we had nothing. The guitar is a variation of an open D tuning. I was planning to record the song with just vocal and acoustic guitar.
After playing the song once in the studio, Bill Elliott said over the studio intercom system, “Hey John, I’d like to come in and try something.” Mark Harmon our engineer miked the grand piano with stereo microphones to get the full rich piano sound. We recorded the song in a few takes. Bill’s piano playing really is theatrical.
“Verandas” harks back to Appaloosa and Compton and Batteau in style. Was this an old song that you rediscovered? It has a really beautiful feel about it.
I play the song in regular tuning and made up the two opening chords to sound like the guitar is in open tuning. Bill Elliot’s piano playing is spectacular. I wrote the song inspired by the old farm that I bought and restored. Nick it’s been a pleasure talking with you.
Denny Laine (lead guitar, vocals) Binky McKenzie (bass) Wilhelm Martin (violin) John Stein (violin) Clive Gillinson (cello) Chris Van Campen (cello) Viv Prince (drums)
1966
October (8) After recording the single Life’s Not Life, Laine (b. Brian Frederick Hines, 29 October 1944, Tyseley, Birmingham, England) leaves The Moody Blues to pursue a new musical project. He briefly forms a trio but the project fails to gel as the others don’t share his new musical ideas.
December Laine forms an amplified string quartet with classical musicians Gillinson, Martin, Stein and Van Campen (who are all ex-Royal Academy), and a backing band featuring ex-Pretty Things and Bunch Of Fives drummer Prince (b. 9 August 1944, Loughborough, Leicestershire, England) and bass player Binky McKenzie, who has worked with future Crazy World of Arthur Brown keyboard player Vincent Crane and blues legend, Alexis Korner.
Denny Laine, 1967
1967
January (21)Melody Maker announces that Laine is recording for Decca’s new ‘progressive’ label Deram. Laine will continue to work under the guidance of producer Denny Cordell, who oversaw The Moody Blues’ recordings.
April(14) His debut single Say You Don’t Mind is released but fails to chart despite being aired on John Peel’s popular independent radio show Top Gear. The song’s advanced nature is confirmed when ex-Zombies lead vocalist Colin Blunstone takes a similar version to UK #15 in 1972. Disc magazine states that Laine has been commissioned to write an Italian film score and is expected in Milan in July for 10 days to supervise the recording. The project, however, is later shelved.
(29)Laine is a compere at the 14-hour Technicolour Dream concert at London’s Alexandra Palace.
Dutch sleeve with b-side title missing the definite article.
May(3) Denny Laine’s Electric String Band is supported by Robert Plant’s Band of Joy at Cedar Club, Birmingham.
Photo: Birmingham Evening Mail
(6) The band plays two gigs in Nottingham at the Beachcomber Club and the Britannia Rowing Club.
(7) The group’s debut performance at London’s Saville Theatre (which was originally scheduled for 3 May) is cancelled when Laine pulls out one hour before the show. According to Melody Maker, bass player Binky McKenzie leaves three days before the show and Laine is unable to get a replacement fully rehearsed in time. Shortly afterwards, Laine reorganises the group, bringing in new bass player Cliff Barton, and Angus Anderson (violin) and Haflidi Halynisson (cello), who replace Martin and Van Campen.
(10) Denny Laine’s Electric String Band return to the Cedar Club for another show supported by Robert Plant’s Band of Joy
Photo: Melody Maker
(19) His new group makes its debut at London’s Tiles Club on a double bill with his former band, The Moody Blues. (Disc magazine announces that Laine is due to do a six-day promo tour of the US from 24-30 May, but it is subsequently cancelled.)
(26)Say You Don’t Mind is given an American release.
Photo: Mirabelle, 24 June 1967 issue
June (4)The band finally plays at London’s Saville Theatre alongside Procol Harum, The Jimi Hendrix Experience and others. (According to Melody Maker, the group performs in Paris on 7-8 June and then travels to Brussels for three days of concerts and TV performances. However, this seems unlikely as a later issue claims that the group begins work on a new single and a debut album on 7 June.)
Photo: Melody Maker
(8) The group plays at the Marquee with The Pyramid (featuring future Fairport Convention singer Ian Matthews and several soon-to-be Denny Laine collaborators).
(10) Laine’s band is booked to play at the Birdcage in Portsmouth, Hants but doesn’t show up.
Denny Laine in Mirabelle, June 1967
(19) Denny Laine’s Electric String Band makes its debut BBC radio appearance on the Light Programme.
Photo: Melody Maker
(23)The band appears the Electric Garden in Covent Garden, central London with Apostolic Intervention.
(24)Denny Laine’s Electric String Band appear at the Swan, Yardley with The Maddening Crowd
Photo: Birmingham Evening Mail
July Laine cuts the ambitious track Why Did You Come? with new bass player Andy Leigh, which producer Denny Cordell subsequently holds back because he feels that it is “too subtle”. (A Melody Maker article from this time, however, claims that the master tape goes missing.) Leigh has previously worked with Denny Cordell’s “Studio G” project, which has recorded two tracks for a promotional EP circulated in tiny quantities to British television and film production companies. The project also features organist/pianist Mike Lease who is brought in by Cordell to arrange strings for one of Laine’s tracks and drummer Peter Trout, who joins the Electric String Band later in the year.
Denny Laine rehearsing the string band
(13) The new line up with Leigh performs at Blaises, Kensington.
(14) Denny Laine’s Electric String Band make an appearance at London’s UFO club, where they perform Say You Don’t Mind, Ask The People, Why Did You Come?, Catherine’s Wheel and The Machine Song, which is never released.
(29) Laine’s group finally appears at the Birdcage in Portsmouth, Hants.
August (5) The outfit performs at Matlock Bath Pavilion, Matlock, Derbyshire with Soul Concern.
(13) The band plays at the Windsor Blues and Jazz Festival, held at Windsor racecourse alongside Cream, Pentangle, Blossom Toes, Jeff Beck and many others.
Photo: Mirabelle, 12 August 1967 issue
(26) Laine arrives at his manager Brian Epstein’s Belgravia home hoping to arrange further work; little does he know that Epstein is dead inside from a drug overdose.
(26-28)The group takes part in a three-day rock festival held at Woburn Abbey with Eric Burdon & The Animals, The Jeff Beck Group, The Small Faces and others.
(27) Denny Laine’s Electric String Band appears at Saville Theatre with The Jimi Hendrix Experience, Tomorrow, Georgie Fame, Eric Burdon & The Animals, The Crazy World of Arthur Brown, Dantalion’s Chariot and others.
Denny Laine, summer 1967, Fabulous 208
September (8) Denny Laine’s Electric String Band perform at the Marquee with The Gods.
(9) The band performs at the UFO at the Roundhouse, London alongside The Soft Machine, The Pink Floyd, Tomorrow and The Move.
(23) Laine’s group appear at the Middle Earth club, King Street, Covent Garden alongside T-Rex and Picadilly Line. Shortly afterwards, Viv Prince departs and forms the short-lived VAMP. Laine recruits new drummer Peter Trout, who has previously worked with Andy Leigh in the “Studio G” band and appeared on sessions for Pyramid’s single Summer of Last Year. The new line up rehearses but the string quartet (with the exception of John Stein) leaves for a tour of Russia. Laine adds new cello player Nigel Pinkett alongside Leigh, Proud and Stein.
October (4) Laine’s band records its debut John Peel radio session, recording Say You Don’t Mind, Why Did You Come?, Catherine’s Wheel, Ask The People, a cover of Tim Hardin’s Reason To Believe and a recent composition. The session is broadcast on 8 October. Peter Trout leaves and reunites with Denny Laine in 1971.
(6) The band, with a new drummer, performs at the UFO, the Roundhouse, London with Tim Rose.
Photo: Melody Maker
(15) Denny Laine’s Electric String Band return to the Middle Earth.
NovemberMelody Maker announces that a Denny Laine album, containing three Laine compositions and a new single are scheduled for a Christmas release. (The former is subsequently cancelled.)
(17) Denny Laine’s Electric String Band appears at Nottingham Technical College, Nottingham with Deuce Coup.
(18) The group performs at the Middle Earth with Alexis Korner and Pegasus.
December (6)The band joins Fleetwood Mac and Warren Davies for a show at the Royal Hotel, Woburn Place, London.
(16) Laine’s band plays at the Britannia Boat Club, Nottingham.
1968
January (12)Laine releases his second single, the equally adventurous Too Much In Love which also fails to chart. (Melody Maker states that an album featuring nine Laine compositions is scheduled for release in early February and that a 10-day tour of Sweden commencing on 25 January is imminent. However, neither transpires).
(24) Denny Laine’s Electric String Band make a second Peel session appearance, recording Catherine’s Wheel, The Machine Song, Too Much In Love, and two new songs, Masks and the folk standard, Sally Free and Easy. The session is broadcast on 28 January.
February Laine disbands the group and concentrates on solo work on London’s folk circuit. After a few months, he moves to Spain and lives a gypsy lifestyle. Leigh briefly joins Spooky Tooth (appearing on their Ceremony album), before releasing a solo album on Polydor in early 1970. He will then become an integral part of Ian Matthews’s Southern Comfort.
May Moving to Spain, Laine stops first in the Canary Islands where he meets American draft dodger, Charlie Jackson, a flute player who has come to Spain to learn flamenco guitar. The pair become friends and busk for six months before moving to Moron de La Frontera, a small town near Seville. While there, Laine learns flamenco guitar phrases from players from all over the world and is influenced by local star, Diego del Eastor.
October Returning to Britain, Laine jams with the ad-hoc outfit Balls, which features John Lennon and Rolling Stone Brian Jones. The band reportedly records a song titled Go To The Mountains for Apple but it is never released. Around this time, he reunites with Mike Lease, who is working with John Martyn’s wife, singer/songwriter, Beverly Kutner. Lease agrees to help Laine audition bass players and drummers for a new version of Balls but despite finding suitable musicians, including drummer Peter Phillips, the line up never settles.
1969
February Laine participates in an early Blind Faith session. He is, however, in the process of forming a new line-up of Balls with Trevor Burton of The Move and decides not to join the outfit. He will later join Ginger Baker in Airforce in the spring of the following year on an ad-hoc basis.
1970
August(5-6) Having contributed to Ginger Baker’s Airforce album and spent the last 18 months rehearsing material with Trevor Burton and ex-Plastic Ono drummer Alan White at a country house in Cholesbury, Bucks, Balls are scheduled to make their live debut at the ‘Popanalia’ festival in Nice, France. The group misses the concert, although their lone single, Burton’s Fight For My Country backed by Laine and White’s Janie Slow Down is rush released in France by Byg Records. (The group is rumoured to have recorded 12 tracks for an album, although they are currently without a record contract. The sessions include contributions from ex-Family member Ric Grech.)
October(18)Balls’ debut UK live performance at the Lyceum in London fails to materialise. (The group was planning to record the show for a possible live album, but internal problems result in a cancellation of the show.) White subsequently leaves and Laine and Burton perform an acoustic set at their next show, held at Trent Poly, Nottingham. Shortly afterwards ex-Spooky Tooth drummer Mike Kellie agrees to join while singer Steve Gibbons is also added. The new line-up vows to undertake a UK tour in January 1971, but by then the group has broken up. Fight For My Country is released by Wizzard Records but fails to chart.
1971
July Laine forms a new group with bass player Steve Thompson, guitarist John Moorshead and drummer Peter Trout, who worked with The Electric String Band and rehearses material. However, Laine abandons the project when Paul McCartney invites the singer to join Wings in August.
Sources:
Bacon, Tony. ‘London Live’, Balafon Books, 1999. Black, Johnny. ‘Blind Faith’. Mojo Magazine, July 1996. Clayson, Alan. ‘Denny Laine’. Record Collector, #191, July 1995. Clayson, Alan. Call Up The Groups – The Golden Age Of British Beat 1962-67. Blandford Press, 1985. Dellar, Fred. ‘Time Machine’. Mojo Magazine, August 1997. Doggett, Peter and Reed, John. ‘Looking Back at June 1968’. Record Collector #166, June 1993. Gardner, Ken. Peel Sessions. BBC Books, 2007. Hounsome, Terry. Rock Record #6. Record Researcher Publications, 1994. King, Michael. Wrong Movements – The Robert Wyatt Story. SAF Publishing, 1994. Laine, Denny. Denny Laine’s Guitar Book, Whizzard Press, 1979. Paytress, Mark. ‘Reading Festival’. Record Collector, #216, August 1997. Reed, John and Pelletier, Paul. ‘Middle Earth’. Record Collector, April 1996. Rees, Dafydd and Crampton, Luke. Guinness Book Of Rock Stars, 2nd Edition. Guinness Publishing Ltd, 1989. Wells, David. ‘Going Underground’. Record Collector, #216, August 1997.
Disc, April 15, 1967, page 4, May 6, 1967, page 6 and June 17, 1967, page 13.
Melody Maker, January 21, 1967, page 5; April 22, 1967, page 5; April 29, 1967, page 4; May 13, 1967, page 4; May 20, 1967, page 5; July 1, 1967, page 7; July 8, 1967, page 4; July 15, 1967, page 4; September 23, 1967, page 28; October 7, 1967, page 6; November 4, 1967, page 4; November 18, 1967, page 20; December 2, 1967, page 24; January 6, 1968, page 3; August 1, 1970, page 4; August 8, 1970, page 29; September 26, 1970, page 5; October 24, 1970, page 4 and November 14, 1970, page 14.
The Birmingham Evening Mail.
Many thanks to Peter Trout and Mike Lease for their memories of working with Denny Laine. Thanks also to Dave Allen.
Harry Vanda, guitar and vocals George Young, guitar and vocals George Alexander, guitar Ian Campbell, bass and vocals Freddie Smith, drumsWhen The Easybeats broke up in late 1969, following a final Australian tour, songwriters Harry Vanda and George Young returned to the UK to join forces with Young’s older brother Alex (who had changed his name to George Alexander as leader of Grapefruit) and they recorded under various aliases, including Paintbox, Moondance and Tramp.
While it cannot be said with any certainty who else was involved in the recordings issued under the names Paintbox, Moondance and Tramp, it is likely that Scottish bass player and singer Ian Campbell and Scottish drummer Freddie Smith, both of whom had worked with George Alexander in Tony Sheridan & The Big Six in the mid-1960s, were the remaining musicians involved. Both definitely played on later recordings, released under other aliases, including Grapefruit, Haffy’s Whisky Sour and Marcus Hook Roll Band. Freddie Smith also recorded on some post-Shel Talmy Easybeats recordings in 1967.
Paintbox’s lone single, released in June 1970, was a Miki Dallon production and was a typical British commercial soul number. The ‘A’ side was written by George Alexander while Harry Vanda and George Young composed the ‘B’ side. Interestingly, some copies came in a picture sleeve depicting five black musicians.
The same week the Paintbox 45 came out on Young Blood, A&M Records released a second single by the group under the name Moondance. “Lazy River” is a catchy Vanda and Young song while “Anna St Claire” is by George Alexander. In Germany, the single came in a picture sleeve, depicting two men, who bare no resemblance to the band members! In 1971 ”Lazy River” was released in Australia under the name Vanda and Young for Albert Productions with a different ‘B’ side titled ”Free And Easy”, also written by Vanda and Young.
In July, a second Young Blood single came out under the name Tramp. “Vietnam Rose” is a Vanda and Young composition while “Each Day” is by George Alexander. The single was also released in Germany and France. After this release, the group left Young Blood and signed to Deram, releasing two singles under the Haffy’s Whisky Sour and Grapefruit aliases. The Paintbox single was re-released in 1971 with “Get Ready For Love” having a slightly longer intro.
Paintbox 45s: Get Ready For Love/Can I Get To Know You (Young Blood YB 1015) 1970 Get Ready For Love/Can I Get To Know You (Young Blood YB 1029) 1971
Moondance 45: Lazy River/Anna St Claire (A&M AMS 792) 1970
Tramp 45: Vietnam Rose/Each Day (Young Blood 1014) 1970
This site is a work in progress on 1960s garage rock bands. All entries can be updated, corrected and expanded. If you have information on a band featured here, please let me know and I will update the site and credit you accordingly.
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Likewise, many other not so famous musicians who played the Ealing Club went on to produce fascinating music in the burgeoning psychedelic scene. Locals Chris Jackson and Tom Newman fronted R&B band The Tomcats (who also worked as The Thoughts) and later formed one of Britain’s more interesting psych ventures, July, after a stint in Spain.
16 December 1965 – Ealing Club, Ealing, London
