Supplied by Mo Elms
Postcard with King David boat on one side and Capital Radio rates on the other.
Mick O’Dowd… Not heard of them even though I was a Jay Boy lable fan.
Tony Court-holmes… I was only 16 then
Andrea Rashford-Hewitt… Little John & The Shadrocks were a popular group in London within the black community in the 60’s and 70″s. They sang Motown Otis Reading etc and wrote songs too. Little John was the lead singer. They played across Europe.
photo by Chris Meachen
supplied by Sarah Harvey
Barry M Dyke… I think I recognise the girl, the chappy behind her and the bloke to his left.
Alan Esdaile… Jill Saward has been in touch and trying to track down some good quality photos of Fusion Orchestra and Shakatak for a new project, can you help?
Jill Saward… Yes, thanks guys, Fusion Orchestra news in the pipeline….
Alan Esdaile… I did ask Jill for any memories of Hastings Pier and she said… so long ago and we were on the road 350 days of the year! I do remember it being freezing cold but the audience were going pretty mental!! xxx
Tony May… This band and their legendary gigs on Hastings Pier and in town have been an indelible part of my life story since Simon (Karl) died. Would love to have seen them play. ‘Talk To The Man In The Sky’ was part of the soundtrack to the film I had in mind for the story of his life. Ironically, its his 16th anniversary in two days time. R.I.P. buddy…
Chris Meachen… Think I’ve probably got some stuff, will see what I can find..
Jan Warren… Brilliant, always loved them, went to many of their gigs!!
Mick Knights… You could count the number of times I was at the Aquarius on one hand, but this was one of them!
Keith Veness… Great Band was there
photo © Anthony ‘Nan’ Morland
top left hand corner by window is Pete Millington putting the records on. Anyone recognise anyone else?
Tony Court-holmes… used to go to the one in Newgate Road in the 60s
Pauline Lindsay… Used to go there as well in the early 60’s, met my husband there. In the picture I can see Janice Harley and Christine Paine.
all photos © Nick Webb
Iain Cobby, Paul Durrant, Mike Kemp. 3rd photo unknown venue
Phil Gill… Iain sold me that Fender Precision bass in 1976. I still have it.
Di Veness… Remembering Ruth too.
Iain Cobby… Wow! not seen these before! Many thanks to Nick for showing them. I do remember the rehearsals with the guys. we waz great ! Sound City and a 70’s Fender from Mullet Smiths …. after al these years and many Alembics, Stingrays , Manson’s and Ric’s I finally went out and bought a Fender Precision last month …… great gear!.
Tony, Mick, Paul & Ruth and Dave and not forgetting the most outrageous roadies Nick and Richard, bless you & love you all! ps I think the 3d photo is under B and S shop in Bexhill?
Dave Nattress… Fantastic – Iain and Paul I went to college with, same classes in construction studies, and Mick was also in construction but a different year or class. Became great mates and I later joined Damaris. I recall Iain’s Fender before he got the Ricky and the Sound City stack. Not sure who owned the Simms-Watts gear, I only recall Tony’s Vox AC30.
Best wishes all and to Nick Webb. Its been a long time.
Paul Durrant… Yes really great to see these pics Nick! I think Iain’s right that the third pic is the Bexhill shop basement, I think it was later lined with old mattresses for sound proofing. The Nissan hut on Wishing Tree Road was where it all started though, Mick arranged it I think. The black painted speakers were built by my work pals at Hammonds on Ponswood – they weighed a ton. Yes likewise Iain and David – Alan has my email address if you ever want to get in touch – one of these days I’ll be down from Scotland for a coffee meet. Always remember those Hastings College days too – including going on a site visit to Brighton Marina when it was being built, all wearing outrageous platform shoes, totally unsuitable for ladder climbing! We drove over in Iain’s MG.
Dave Nattress… Nice one Iain. Yes I recall so well the B & S rehearsal studio in Bexhill and the dodgy old bed-mattresses used for sound absorption/insulation and the grumpy old fella upstairs in the flat above the shop. Love and best wishes to all the guys and special love in Ruth’s memory. Much rock and roll hardship after a gig, unloading gear, humping all the cabs. through the shop and down the narrow rickety stairs. And BW to Nick and Richard also. Must get in to SMART next and hopefully see you, Nick and whoever. Pics. are (somewhat naturally), just as I recall everyone/everything. Lionel’s/hair/clothes/gear. Great days, great to have done.
Iain Cobby… Thanks Dave!
Hi Phil, Lot ot rubbish talked about pre CBS stuff , but it was a fab bass (and I’m sure still is). I loved that bass but had to sell as I had borrowed the money for a new Ric 4001 from my dad. Had to drive my mini to London to get it and got stopped by the Met who were in pursuit of a felon ! ended up getting a cab to Fender Sound House where I bought it ( I don’t remember getting back to Hastings!) hazy days!
photos © Eric Upton
Robin Grooves, Peter (Jonah) Jones, Paul Burton, Don Climpson, Eric Upton
Martin Richter… fantastic
Richard Holgarth… Dallas Tuxedo guitars as well…don’t see those too often.
Michaela Audette… Thanks for posting. Today is my Dad’s birthday – Don Climpson. I remember going to the pier and seeing him play for the 80’s show. It is nice to see 60’s and 80’s pics side by side. Thanks again.
I should imagine that the vast majority of people remember Julie for several reasons. Her undoubted beauty that shone even in an era of many beautiful faces. Her 1968 psychedelic No 5 hit ‘This Wheels on Fire’ with Brian Auger & the Trinity. Or you may go back earlier to her participation in Steampacket, the band formed by blues singer Long John Baldry in 1965, that famously included a young Rod Stewart. It also included Hammond maestro Brian Auger with whom Julie would break away with to form the aforementioned Trinity. By 1969 Julie had been touring relentlessly for 4 years & was tired. Tired of the double-edged sword of fame which having a hit like ‘This Wheels on Fire’ brought, but then ground you down relentlessly as you were called upon to endlessly & repeatedly perform it as well as looking a certain way, expected of you by Press & public alike. It was time for a change. A fresh beginning, or to quote the title of the opening track of her solo album ‘A New Awakening’. After a final series of gigs with the band, Julie left the band for a solo career. For some time she had been writing her own material with the aid of an acoustic guitar. Encouraged by her manager Georgio Gomelsky who had successfully managed The Yardbirds & owned his own label Marmalade Records, Julie set to work on what would become her solo album, named simply after the year it was produced, 1969. Georgio introduced her to Keith Tippett a jazz orientated musician & another of his stable of artistes. It was to be a special coming together. Julie was very taken with the music Keith had written for his own debut album & after seeing him play at The Marquee was rightly convinced they would make a great partnership in shaping her material. They would also become husband and wife remaining so up until Keith sadly passed in 2020. The 2 literally locked themselves away for a night in Gomelsky’s office & worked on the 8 tracks that would form ‘1969’. From the aforementioned opening track ‘A New Awakening’ it’s very clear that here is a woman literally declaring her new future, it’s right there in the lyrics ‘Today I woke up to many things’ ‘My day began in long confusion’ ‘And then we talked, you understood’ ‘I even starting feeling good’. I have picked those lines randomly, but they say it all. Starting with some accomplished strumming from Julie ‘A New Awakening’ is a complex & exciting start to the album with some searing electric guitar work from journeyman guitarist Chris Spedding, punctuated with horns quite reminiscent of something you would hear from the likes of Blood, Sweat & Tears. By the time the track has finished all thought of the ‘albatross’ that was TWOF has disappeared in a seismic shift. Track 2, the haunting & beautiful ‘Those That We Love’ is a gentle, intricate number by contrast, yet still leading us firmly into new territory. Track 3 ‘Leaving It All Behind’ with a wonderful Oboe part is self explanatory in it’s title as we continue on Julie’s new journey of personal & musical discovery. It’s with the arrival of Track 4 ‘Break Out’ that all thoughts of her previous path are now well behind us. It’s a standout track, ‘It’s a long road, when do we reach our goal’ it asks in its opening line before moving into a melodic mid-tempo number which becomes quite mesmeric & dreamy, only to be shattered about 3 minutes in by one of the most striking swooping vocal parts I’ve ever experienced, quite extraordinary, there’s some great guitar work from Jim Cregan also in the mix. Track 5 ‘The Choice’ is again a title that says it all as Julie has a dialogue with herself that we can all relate to in our personal lives. It’s probably my favourite track on the album. Track 6 ‘Lullaby’ is just that, a soft & wistful song with some very appealing acoustic guitar from Julie overlaying a delicately delicious vocal. Track 7 ‘Walk Down’ we are now moving towards the end of our journey as Julie reminds us to ‘stay on the path that leads to our goal’, the musical arrangement by husband Keith is exemplary & i love the imagery & stunning quality of Julie’s vocal performance. Track 8 ‘I Nearly Forgot – But I Went Back’ draws the album to a close in fine fashion as Julie basically sums up what has gone before, with at times some, to my mind, allusions to a past psychedelic world. It’s been a treat & a fascinating listen, & one that i have thoroughly enjoyed, I will always love her previous work with Steampacket & Brian Auger, however if it came to repeated listening i would chose this album. In keeping with her new direction the album cover is plain with no picture of that beautiful face to distract one, a move that was surely deliberate. Esoteric Records have done a fine job with the remastering & the sound is excellent. It’s accompanied by an informative booklet, with a shortish essay & full musical credits & song lyrics. ‘1969’ was supposed to be released as it’s title suggests that same year. However due to the collapse of Marmalade Records didn’t see the light of day until 1971. It may be over 50 years old but it could have been made yesterday, it’s theme is eternal. Enjoy
Mick O’Dowd… Unfortu natel never got to hear much of her myself after TWOF! She was an exceptional talent but again was totally overlooked. I believe that our own Tony Bird played with Brian Auger at one time. Correct me if i’m wrong Tony.
Reid McDuffie… She was my first crush…. remember her clearly grooving while Auger soloed manically. 1969 is a great record, I spin it often
Alan Esdaile… Remember hearing This Wheels On Fire for the first time and had to rush out and buy it. Impressed with the label ‘Marmalade’ which came in a purple cover and trippy logo, when most other labels were pretty plain. And then when I saw her on top of the pops, Wow!