Portsmouth Music Scene


The Portsmouth Music Scene
The Personal Histories

Here is a page of personal Histories

From Nelson Peters

Nelson Peters was a Bass player with Bill Cole, and has these thoughts and a photo

PJC band

THE NAMES WHEN WE WERE THE PJC (Portsmouth Jazz Club)
were - Front row - RON BENNET (No relation to the other Bennets) Next is CYRIL BREEZE (Tenor) next is SPENCE BROWN(Trumpet) next is TED PIGGOTT(Guitar) Behind him is BILL COLE on Piano with GEORGE GOOD and myself on Drums and BASS.
Five nights a week at the Lido Ball room. . WE Played jazz every SUNDAY at 2pm to a seated audience. .
WE WERE Joined by some Black Musicians in 1945 who were stationed here and awaiting the Invasion.
They were from well know group in America!! The Trumpet player's name was Jimmy Simpson. . .
The American band THEY were from was FATS WALLER- GREAT HUH????
ALSO - I met my Wife at the time as SHE was working in the Cloak Room"""!!!
THOSE WERE THE DAYS!!!

From Dave Knight

I'll keep it short and sweet. So I was born on 5th November 1948 and I picked up my first guitar when I was 14 and started practicing. I was fat and spotty so no one I knew, who played, was anywhere interested in me. With the exception of Adrian Newlyn who had a guitar and Terry Threadingham who wanted to play the drums. Terry went on to be an excellent drummer and played with 'Cherry Smash'. Having lost weight, spots and grown my hair; when I was about 18 I teamed up with Colin Dowsett and Ed Barber. Colin was an excellent guitarist who gave it up to study Russian. We called ourselves 'The Riverside Blues Band' and did very few gigs. We did play at the free concert given by local bands on Southsea Common.
Why Dave Allan wants to do local bands of the 60's I really don't have the foggiest idea. Most of the 60's I was practicing and didn't come into my own until the 70's. Anyway while bumming around (musically speaking) you get to meet likeminded people and the word gets around about your playing abilities and in 1969 there was a knock at the front door and these 4 motley individuals said I'd been recommended because they were looking for a new Bassist. They were called 'Dear Rachel', and as they had a few gigs lined up I decided to join them. The gigs meant we played for French students at a few halls around the area for £5 a gig.
They like us so much they booked us as support band for their end of term dance at the Guildhall; who was the main band. . . . . Status Quo.
We had found ourselves a practice room at the back of the Museum Gardens Pub, which is now The Contented Pig, so we increased our repertoire and our playing abilities and tightness as a band. We decided we needed a new name and I came up with 'Truth' which was the new album by Jeff Beck featuring Rod Stewart on vocals blah. . blah. . It sounded fab and groovy at the time.
During our forays out into the big world of entertainment, we used to visit the 'Indigo Vat' a club in the basement of one of the buildings in Hampshire Terrace. Now we couldn't afford the price of admission for all of us so we clubbed together and one went in and paid; then went to the gents toilet and opened the back window, meanwhile the others went round the back and skipped over the garden walls and entered via the aforementioned window. Being a bit of a smoothie I was the one who went in and paid and I got to know the person who ran the Indigo Vat. It was Ann Luckett who eventually ran 'MMF' agency in Gosport. MMF = Alan Matthews, Ricky Martin, Robin Ford and Ann Luckett. They gave us our 'big break' into paid gigs around clubs locally and eventually all over England. We started with a 'Test Gig' at the 'Tricorn Club' alongside The Alan Bown Set.
Then we decided to go pro, three members left and were replaced. So that was my contribution to 60's local bands. . . . TWO

Riverside Blues Band. (everyone hated being called 'The. . . ')
Terry ?? Drums.
Colin Dowsett (G), Dave Knight (BG), Terry?? (D) Ed Barber (D) replaced by Paul Sevier (D). Years 1968 - 1969

Dear Rachel.
Dave Knight Bass and backing vocals
Paul Lundquist Lead Vocals
Neil Plunkett Lead Guitar and backing vocals
Alan Slack Rhythm Guitar and backing vocals
Ian Harner Drums (no vocals he was actually tone deaf)
Later became Truth. 1969

Truth.
Paul Lundquist (V) Alan Slack (GV) Ian Harner (D) Dave Knight (BGV) Neil Plunkett (LGV) Previously Dear Rachel 1969-1972
When TRUTH went professional in 1972, :-Paul Lundquist (V) Terry ? (LG) Mark Lundquist (GV) Dave Knight (BGV) Derek Quinton (D). 1972 + 1973 Dave Knight Left:- TRUTH Paul Lundquist (V) Terry ? (LG) Mark Lundquist (GV) Dave Walker (BGV) Derek Quinton (D)
Finally TRUTH (Not sure what year) Paul Lundquist (V) Terry ? (LG) Mark Lundquist (GV) Gary Twigg (BGV) Derek Quinton (D) not sure when they disbanded.

More from Dave Knight

The very first line up for "Suspect" for one gig only was Kevin Dawson Keyboards - Dave Knight Bass - Karen Illingwoth Bailey Vocals and Derek Quinton Drums (the drummer from Truth - for one night only because we were still auditioning).
Then our regular Drummer was John Bodle who turned out to be Geoff Davis's Nephew.
Karen then left after a couple of years. She originally played the Bass until I came along and she wanted to branch out so she began learning the Drums. She left to form Bluebird with Fred Illingworth on Guitar, Malcolm Crowle on Bass, Mick Crowle on Lead Guitar and Frank Brown on Rhythm Guitar.

"Limelight" - Karen Knight, Dave Knight Steve Farrow

"Riverside" (should be Riverside Blues Band) turned into Dear Rachel into Truth. In actual fact Dear Rachel consisted of Paul Lundquist (V) Alan Slack (GV) Ian Harner (D) I don't know who their original Lead Guitarist or Bass player were. They just came to see me one night after getting my address and asked me to join as Bassist. The next thing I remember is our Lead Guitarist was Neil Plunkett, about 1969
Plus Riverside never had a female vocalist; although on deep recollection which has caused me a near headache, one of Colin Dowsett's friends (I'll remember his name when I'm 70 or 80) who played sax and woodwind who practised with us for a short while brought some tart along one day - she thought she was another Janis Joplin. So we thought sod this and broke up. Colin who was a thouroughly good egg and Guitarist to boot went back to college to study Russian.
In fact I've got a reel to reel tape, and player, with us practising slow Blues (yup, boring).

I've remembered his name - Paul Sevier, he was our drummer in Riverside a damn good drummer.

I WAS KNOCKING ABOUT WITH A GUITARIST CALLED TONY MITCHELL IN ABOUT 1966/67 HE COULD PLAY LIKE HENDRIX, BELIEVE IT OR NOT BUT HE WAS A BIT OF AN EGG HEAD,WE NEVER GOT INTO ANY BANDS ALTHOUGH WE TRIED HE EVENTUALLY WENT TO SOUTHAMPTON UNIVERSITY TO STUDY AERONAUTICS AROUND THE TIME I JOINED UP WITH COLIN DOWSETT IN AROUND 1967/1968 THEN INTO TRUTH AROUND 69/70. I WENT TO THE 69 AND 70 I. O. W. FESTIVALS WITH TONY.
Benny Freedman, band leader - he was our music teacher at Hilsea Modern. Really nice fella, I used to talk to him about classical music while the others took the p*ss, about 1965.

school group 1964xx my_mate_adian

The School group, named The Jays, left to right, unknown, Adrian Newlyn burns guitar, Terry Threadingham drums, Dave Knight guitar. We were all at school together, yup, at Hilsea Modern Boy's in Kipling Road Hilsea, now has houses built on it. The photo was taken by Adrian's dad outside Highbury Tech's sports hall. I'm not sure what guitar the Bassist had. Yes that's probably a Burns but would need some research. My guitar is some old scratch built jobby, with no name or indication of make. When I was 14 or so I swapped my large collection of rubber building bricks for the guitar. The drums I think were premier and belonged to the college. I know (as you can see) we all plugged into Adrian's amp. Vox AC30, coz his dad was rich. So this was only about the second time we got together to practise. Then Terry's dad bought him a kit, I acquired some home built 15 watt amp and speaker cab for £12 which I bought off of David Cleif.

Then on the right above is the same group on the same day, but scrawled across the top is the name, The Sound Waves! ???

From Dave Gilson

smiling hard
The "Blackout" personnel and instruments and vocals were:
Dave Gilson (G/T/V)
Kev Gilson (V/G/S/K)
Tony Gilson (BG/V)
John McLeod (K/V)
John Jenkins (D/V)
Bill Carlton (G/P)

The "Gold Dust" personnel for the first line-up was:
Kev Gilson(V/G/S/K),
Tony Gilson (BG),
John McLeod (K), replaced by Spike Edney (K)
Dave Houghton (D).
Spike Edney replaced John McLeod
John stayed on as Stage Manager (Effects, Lighting, Sound Desk etc).

"Smiling Hard" photo
Top Row: Left to right - Dave Houghton/Kev Gilson/Spike Edney; and
Bottom Row: Left to right - Phil Jones/Tony Gilson.

Dave Houghton (D) replace by Phil Briggs (D), replaced by Larry Tolfrey (D)
Kev Gilson (V/G/S),
Spike Edney (G/K)
Phil Jones replaced by Andy Hamilton (V/S),
Tony Gilson (BG) replaced by Nick Hug (BG)

I know the careers of Spike Edney, Andy Hamilton, Dave Houghton, Kev Gilson and Larry Tolfrey all progressed to successful bands, including Queen, Joe Jackson, Boomtown Rats, DuranDuran, ABC, Joan Armatrading, George Benson, Brian May Band, David Essex and more. I've been in touch with Spike and he has plenty of Smiling Hard stuff, including photos, but he is in California until May, but when he gets back to London he will dig out some stuff. I'll go up to see him and try to confirm some of the later career facts. He has a good memory so I may be able to get some chronology as well.

I've attached a MS Word document with photos and personnel of the Black Cats, Blackout progression. As you know, I am expecting more information about the Blackout - Gold Dust - Smiling Hard progression. As regards the career progressions, until I get agreement from the various people, I wouldn't mention anything other than the following:
Spike Edney later was Queen’s musical director and keyboardist for over two decades. He also played with George Benson, Boomtown Rats and the SAS Band (http://www. sasband. com). The SAS Band draws from the following artists: Chris Thomson, Fish, Leo Sayer, Paul Young, Tony Hadley, Jamie Moses, Madeline Bell, Graham Gouldman, Tom Robinson and many others.
Andy Hamilton later with Duran Duran, George Michael and others.
Kev Gilson later with Dexys Midnight Runners and others.

Soul Society

After some discussion with John Pratt/Dupret, Linda Ashton Evans and Stewart Ward, we have drawn up a 'family tree' as below.
also/soulsoc2. gif

Mike Treend

Dear Dave and Mick—referring to your joint research on the Portsmouth Music Scene from the forties onwards—what an amazing piece of work ! Congratulations and extremely well done.
You do ask for any contributions that may be valid so I would like you to consider adding some reference to my brother, Mike Treend.
During the 50’s through to 70’s(when he moved from the area) this wonderful modern jazz piano player--very much Peterson style--won the appreciation of jazz aficionados and musicians throughout the region.
Frequently backed by lovely drummer Mike Hutton, Mike played many of the jazz clubs and venues in the Portsmouth and surrounding area but most notably, in my opinion, in the Mermaid Bar, situated at the base of the Royal Beach Hotel just along from the Savoy Ballroom, opposite the South Parade Pier. The big names from the bands at the Savoy were often seen at the Mermaid enjoying the music. The many big name guests who Mike played with at the various jazz clubs include Tubby Hayes, Ronnie Scott, Tommy Whittle and Bill Le Sage amongst others. Mike was also a delight to have backing you if a vocalist
Sadly Mike passed away in November 2009 but his music lives on in the many recording made by people who so admired his playing.
supplied by Trevor Treend(brother)

Obituary

Michael William Treend, On November 5th 2009, in Spain, after a brief illness, Mike passed away, aged 73.
Beloved husband, father and grandfather and dearly loved by brothers Peter, Trevor and William, sisters-in-law, aunts and cousins. Held in great affection and esteem by many local musicians and aficionados. Cremation has already taken place in Spain; a memorial service will be held locally in January, to which all his many friends and admirers will be welcome.

Mike Treend
Treasured memories of our beloved special friend, Mike over the last 61 years. You gave us such love and wonderful music. We will never forget. Our love and condolences to Trevor, Will, Pete and all the family. "I remember you" Mike. Love, Dorrie and Ron XX.

mtreend1 mtreend2

Mike Treend solo, and then Mike age 73 at one of his last gigs, with drummer Dave Horn, now living in Spain, and Colin Lloyd on double bass

from Peter White in the USA

Mick, Great job with the web sites and research.
Just a note that you can add to the data. and the matrix of musicians and bands.
starfire
The Furys became Blue Sand in 1967 timeframe with me (Pete White on guitar) colin Marchant Rhythm, Bryan Baker bass and Stu Savage on drums then The Colours around 1970 same people with Colin then added Ray Baker in 1972. Back last year I sent Dave a brief history but with the mountains of stuff you receive it may not have made it through.
Another interesting thing is the band Jason and The Argonaughts. Funny enough for a brief few weeks between the The Residents and The Furys we called ourselves that. I think we may have played one gig but I just don't recall. But it was about the time the movie came out.
Another long time musician that appears to be MIA is Pete Conlan. He lived down the street from us and worked for a scale company that went round adjusting grocery scales. He played in The Federals as the Rhythm Guitarist. He used an early Tan Vox AC30 and a Cherry Red Guild Starfire. I recall he was still playing with them around 64/65.
In Oct 66 The Meteors UK had to cut a demo at the Modern Music Center Studios in London. Apparently there was some split in the band so Ray Baker and I were asked to step in and we did the recording with the Drummer and Bass play. I still have the acetate. In 68/69 Blue Sand recorded an EP at Saturn Records who were a studio on Hayling Island. I have never found anymore data on them. The record got some airplay in the UK and a copy made it's way to the US. But then "Nothing". . . .
Speaking of Ray Baker. Following the Meteors UK and He and I rehearsing with the Memphis 5 he was in Frenzy, then the Universal Trash band and left around the time of Heaven. He could confirm all that but he was in one of those with Ray Brooks on Sax and Rich Semark on Drums.
I have a lot of pics from the late 60's Blue Sand that I don't think I have shared yet.
Anyway
I want you guys to know that this is a fantastic site, a novel project, and really captures so much of those years.
The possibilities are endless
All the best Pete

The Colours were the Resident "Rock Band" at Sinah Warren Ballroom from 1972 through 1978. Summer seasons were 22 weeks were we played Sunday Night for two 45 minute sets, Tuesday night when we backed the resident entertainers in a 45 minute cabaret show plus visiting artists, Thursday night when we did our two 45 minute spots. Friday night when we did a 45 minute cabaret show with the entertainers including the finale with the Big band (Dean Maddison then Aurther Ward. )
Then we carried the gear over the the night club and played from midnight until 3 am. Carried the gear back and set it up in the Ballroom ready for sunday night. We had 2 weeks off then the winter season would start and we played all the function and xmas parties unless (like IBM) they hired their own band - Usually Brown Hills Stamp Duty (Great Band) 2 week break to rehearse for the summer season then off we went again. All this was plus holding down a good job.

The music career of David Mussell

List of groups (as far as he can recall) as follows:-
smiling hard

Rising Sons (Youth Club group) - ? Dec 1964 - Dave Mussell, Jim Phillips
Barry and the Strollers –1965-66 -
David Mussell, Dave Gladding, Barry Fowler, Barry Gladding, Barry Shute + Bernie Morley (later)
Scheme – 1967-68 – Dave Mussell, Alf Pink, Steve Stephenson, Terry Bragg
Tayles – 1969-ish – Keith Shilcock, Graham Thompson, Pete Gurd, Dave Mussell
Whiskey River - ? 1969-ish – Dave Mussell, Pete Bugg, Bernie Fox, Denny Barnes, Rick Buckingham
Mirkwood - ?1969-ish – Pete Bugg, Dave Mussell, Rick Buckingham
Generation – 1970-71 Steve Farrow, Roger Tice, Phil Briggs, David Mussell
Thumper – 1971-73 Roy Slyfield, Alan Medland, Phil Briggs, Dave Mussell
Room Service – 1982-1984 Dave Mussell, Alan Harwood, Mick Staples, Keith Durant, Steve Poingdestre
Lifestyle- 1985-86 Dave Mussell, Alan Harwood, Mick Staples, Keith Durant, Steve Poingdestre
Clubland – 1986-87 * Keith Durant, Mick Townend, Steve Thacker, Dave Mussell
Movies – 1987-1990 * Keith Durant, Mick Townend, David Mussell, Steve Thacker
Alphabet – 1990 to present date * Mick Townend, Keith Durant, Steve Thacker, David Mussell
*The last three listed have the same band members – just a change of name!!
The first Clubland gig was 14 June 1986, so we recently celebrated 25 years together with the same line-up!

I have an old 1966 diary which lists many of the gigs we played as “Barry and The Strollers”:-
05 January – Windmill Club, Selsey - £12/12/-
17 February – HMS Dryad, Southwick - £12/10/- 8-11pm
18 February – Sinah Warren – Presidents Dinner/Dance (with Dean Maddison) £20 – 2 x 30min spots
04 March – Manor Court Youth Club - £7/10/- (filled-in at the last moment for The Klimaks)
05 March - Fratton Youth Club Dance (Church) - £12/10/-
11 March – Windmill Club again - £15/15/-
12 March – Leigh Park Bowling Alley (Excell) - £12/12/-
18 March - Barnham Hotel, Barnham – Lifeboat Dinner/Dance for Sir John Power - £20/-/-
21 & 23 March – “Practice”
29 March – Whaley Club, HMS Excellent - £11/-/-
01 April – Clarence Pier – Southsea Rowing Club Dinner/Dance £8/-/- (2 x 20min spots)
04 & 06 April – “Practice”
16 April – Leigh Park Bowling Alley - £12/12/-
23 April – Drayton Methodist Youth Club Dance - £10/-/-
24 April – Leigh Park Bowling Alley – Competition “Barry & Strollers v St Louis Checks” and “Teapots v Sons of Man”
27 & 28 April – “Practice”
01 May – Leigh Park Bowling Alley 3-4pm - £5 + free game of bowls
02, 04, 05 May – Practice
06 May – Clarence Pier Dinner Dance Dockyard Football Club £12/10/- 2 x 30min spots (ex Teapots booking, given by Doreen Parsons)
08 May – afternoon: Leigh Park Bowling Alley £5/-/-
Evening: “Pop Inn”, Brighton - £10/-/-
13 May – Curzon Rooms, Waterlooville – Leigh Construction Dance £12/12/-
19 May – RN Haslar Gosport £12/12/-
21 May – Leigh Park Bowling Alley £14/14/-
22 May – Leigh Park Bowling Alley 3-4pm £5/-/-
26 May – Central Ballroom, Aldershot £10/10/-
27 May – Kimbells Southsea – Portsmouth Football Association £12/12/-
28 May – St Francis Church Youth Club - £12/12/- + Bowling Alley later
29 May – Pop Inn, Brighton £12/10/-
30 May – Pop Inn Brighton - £12/10/-
04 June – Pop Inn, Golders Green London - £15/15/-
10 June – Manor Court Youth Club - £12/-/-
11 June – Pop Inn, Brighton - £12/-/-
17 June – Top Hat, Littlehampton - £13/13/-
18 June – Jeffrey Hall, Southbourne - £14/14/-
23 & 24 June – Pop Inn, Brighton - £21/-/-
25 June – afternoon: Excel Alley, Bitterne £5/-/- (1 hr)
Evening: Westbourne Barbecue - £15/15/-
30 June – Haslar Club, Gosport - £12/12/-
02 July – St Faith’s Youth Club, Fratton - £12/12/-
. . . . . . . . . . . . . . . . . . . . . and that’s just the first six months of the year!! Looks like we were kept pretty busy.
The fees were the total for the group, not per individual member!!

copsey

From Barry Stone

Barry Stone Says: Eric Copsey was my uncle.
He was part of the Copsey market-gardening/florist family. The family, headed by Thomas Copsey (Eric’s grandfather), came to Hilsea in the mid 1800s to manage Hilsea farm on the north of what is now Norway Rd. The family then moved across the road into Green farm, part of which was known locally as Copsey Cottages. The farmhouse was demolished but the cottages survive today as part of the Toby Carvery (on Copnor Rd).
Around 1915 two of Thomas’s sons, Fred and Robert, bought some land at Farlington (on the Havant Rd). They started a market-gardening business – including growing flowers. Fred’s son Eric became a successful florist and in the 1960s was elected World President of Interflora. Eric bought and ran the Bryson florists shops in Portsmouth.
Eric was an accomplished organist and he played in numerous ‘venues’ around Portsmouth. He played regularly at the Drayton/Farlington Methodist Church. It is said that on occasion mischieviously he played the hymn with one hand and a current popular tune with the other. He is buried in St Andrews churchyard, Farlington. The Copsey/Denvilles business in another part of the same family.
Barry Stone.

Rod Watts Timeline

The Rivals;- 1960 To 1965, (1961 on Home Grown Southern Television)
Rod Watts, (LG). Frederick Wildsmith (BG). Tony Alton, (RG) Roy Wells (D) Ricky Rickwood he has a stage name Ricky Dene, (V)
Moments;- Arthur Potts (V), Mick Watts (G), Rod Watts (K), Pete Hackett (BG) replaced by Geoff Davis, Buddy Purves (D) died in his 20's, hole in the heart.
Buddy Purvis was a great drummer, died in his 20's, hole in the heart, very sad. . . For a while, we had a guy called Geoff Davis on bass, (not the Pompey comedian).
Academy;- Marc Tuddenham (G/V), Graham Barnes replaced by John Curtis (BG), Rod Watts (K) replaced with guitarist Mick Gill, Graham Hunt (D). they became Cherry Smash. ,
Soul Society;- 1967? To ? Phil Freeman (V), Stuart Ward (G), Mark Hunter (BG), John Davis (G/S), Rod Watts (K), Alan Dodds (D) .
St Louis Checks;- Chris West (Chris Dodoulu – V), Nick Nicholson (LG), Eric Merriwood (K) replaced by 'Ginger' Woods (K) replaced by Rod Watts, Mark Hunter (BG) replaced by Mick McGuigan (BG), ‘Ginger’ Woods (K), Alan Williams (D).
Magic Roundabout;- Chris West (Chris Dodoulu – V), Nick Nicholson (LG), Eric Merriwood (K) replaced by 'Ginger' Woods (K), Mark Hunter (BG) replaced by Mick McGuigan (BG), ‘Ginger’ Woods (K), Alan Williams (D). Rod Watts (K)
Silver Collection;- Rod Watts (K) Lesley Smith (V). Formed in 1978, lasted until1999.
Tomkatz;- disbanded 2011, Rodd Watts (K) Marc Tuddenham (G) Pete Jackson (B) Will Stoker (D)
Southern Dance Orchestra;- 13 peice dance band including Rod Watts (P) Pete Jackson (V/B) Ken Howell (T)
Also 12 years working in Bennetts Fratton Road.

Gilbey Twiss

The tale of Gilbey Twiss. Mick Legg and Dave Allen from Rosemary had joined Whiskey River's blues players Bernie Fox and Denny Barnes plus saxophonist Mick Tuck from Wanted. We were managed by Mick Dillon and Alan Roblin and after flirting with the name the Teen Queens became Gilbey Twiss (why? no idea).
Our first gig was a Press Charity event at the Locarno in Arundel Street on Tuesday 6 October 1970 with other Pompey bands Aubrey Small and Egypt plus Dozy Beaky Mick & Tich. After our spot we packed up and drove to the Pier, for a student gig following Jellybread, Bram Stoker and the Edgar Broughton Band as last act of the night. For the two gigs combined we earned £15!
We used to rehearse upstairs at the notorious Appletree pub on the Hard and played a couple of gigs there in exchange. Other gigs came at the Teachers' College (Milton), the Oasis, the Pomme D'Or and after the Tricorn gigs (below) we played Oaklands Convent with (In Grandma's) Absence on Friday 12 February. Shortly after, Denny Barnes left to join Sam Apple Pie, a London recording blues band and after 11 gigs in four months GT was no more. I think Denny is now in New Zealand, Mick Legg is on IOW and Bernie still gigs locally with all kinds of people including Steve Roux. Mick Tuck died some years ago. Briefly we also had a 'girl' singer - Sue Humphries.
We earned an average of £11 per gig which was crazy - I was also working as a council labourer on Southsea seafront and I turned my back on music (briefly) to train as a teacher. I was soon back playing (mainly acoustic blues) but never again nursed any ambitions of a professional career and because of the style I was playing, spent more time around the folk scene - hence my general ignorance of 70s rock/disco etc. I didn't play with bass guitarists/drummers (etc) for another ten years (in Steel Mill) but I did play with violinists, accordionists, banjos, dobros, washboards etc.
From Dave Allen

A brief, as brief as possible, personal music history.

I was told my Grandmother played the piano. My aunt had a piano in the front room, and I would try to play it every time we visited. Aged about 8, my parents got a piano from Bennetts in New Road, and I had lessons, but it didn't last and the piano went back to Bennetts. At Portsdown Secondary School I played the recorded and got into the school orchestra.
When I started work I bought a Grafton saxophone and had lessons at Courtney and Walkers in Arundle Street, and slowly progressed. I became friends with a local 'beat group' and eventually bought a cheap keyboard, called a Solente! It must have been made locally? I played some gigs with it, and eventually decided to upgrade with a Vox Continental Organ bought from Stan Bennett in their Fratton Road shop. After a few years, about 1966, I upgrade this to a Hammond L Organ and Leslie Cabinet brought from Billy Bennett in the New Road Shop. I then had a brief spell in 'Jamie's Kin' and then onto the Soul Society. About 18 months later I join the Universal Trash Band as they changed their name to Heaven. We played one special gig at the Carre Theatre in Amsterdam, and also on the 1969 IOW Festiva working for the MMF Agency.
Early in 1970 the Heaven days ended and I went into a different musical direction with a drummer I played and sang around local clubs and pubs. In 1972 I met with Geoff Davis and Jim Armstrong.
In 1973 whilst playing a summer season in Clacton on Sea with Geoff and co, I up graded to a split Hammond T Organ from a shop in Chelmsford.
In 1974 Geoff, Jim and I started at the Honky Tonk Bar, previously called the Festival Bar, below Joannas on Southsea seafront I later bought a Yamaha B55 from Brain Lake at Highfield Road, Waterlooville. The Honky days ended early in 1980, so with Mike King on drums, again played around local clubs and pubs and did three summer seasons on the South Parade Pier 1981/82/83. At this time I started do solo gigs Then around 1983 I bought a Yamaha C605P and two cabinets also from Brain Lake Music at Highfield Road Waterlooville.
I bought two Yamaha HS6 organs, one for home and one for on the road. Towards the end of the 1984, I went fully solo.
Next a bought a Yamaha keyboard PSR 6700, heavy but more portable which was stolen from the back of my van. Then came a Gem WX2 and then a WK8 which I used until I retired with a last gig at the Red Lion Hotel Fareham on Christmas day 2008.
From Mick Cooper

The complete to date group history of Nigel Baker

1 Highbury college (1964 ish) Nigel Baker Rhythm guitar Terry Crump Bass Guitar Dave Green Drums Roy ? Guitar

2 The Legends Nigel Baker Rhythm guitar Voc Dave ? Bass Guitar Jim Handley Drums Butch [Terry] Moss Guitar Voc Had a residency at the Hayling club,

3 The Bondsmen [I think] Im ashamed to say I cant remember anyones Name except we had a residency at the Beach Club. I

4 Jamies Kin 1 Nigel Baker Rhythm guitar Fred Carter Bass Guitar Jim Handley Drums Barry Sutton Guitar Cliff Stafford Voc

5 Jamies Kin 2 (1968) Nigel Baker guitar Alan ? Bass Guitar Jim Handley Drums Mick Cooper Hammond Cliff Stafford Voc

6 Bob Pearce Blues Band Nigel Baker Bass ??? Drums Denny Barnes Guitar Bob Pearce Vocal Harmonica

7 Lord Maurice Group Nigel Baker Bass Butch [Terry] Moss Guitar Voc Peter Forrester Vocal Fritz [Brian] Carter Drums Mick Hackett Hammond Voc

8 Horizon Ian?? Voc Les Pope Drums Steve Smith Guitar Mick Hackett Hammond Voc Nigel Baker Bass

9 Horizon 2 Pete Forrester Voc Mick Burns Drums Dave Fulford Guitar Mick Hackett Hammond Voc Nigel Baker Bass

10 Autumn Leaves 1 Mick Hackett Hammond vocals Nigel Baker Bass Vocals Derek Day Drums John Lines Drums ?? Drums

11 Autumn Leaves 2 Mick Hackett Hammond vocals Nigel Baker Bass Vocals Ron Hughes Guitar Voc Ken Hughes Drums

12 Jean Leslie and Country Gold Jean Leslie Vocs Ken Guitar Drums ? Pedal Steel ?

13 Harlequin Bob Downes Guitar and Vocal Nigel Baker Bass and Vocal ? Drums Ken Hughes Drums

14 Dutch Courage Jerry Holland Vocal John Holland Guitar Mick Knight Guitar Tony Upfold Drums Nigel Baker Bass

15 Brian Frost and the Rave ons 1 Mick Knight Guitar Brian Frost vocals Nigel Baker Bass John Mulleady drums Dave Javins Drums

16 Sleeper Charlie Keenan Vocs Alan Earpe Guitar Paul godwin Drums Nigel Baker Bass

17 Brian Frost and the Rave ons 2 Mick Knight Guitar Brian Frost vocals Nigel Baker Bass Ken Hughes drums

18 Reflections Dave Fewings Guitar Phil? Rhythm Guitar Ken Hughes Drums Bob ? Keyboard

19 Hat Trick (from 1994 to date) Ron Hughes Guitar, Vocal Ken Hughes Drums and Vocal Nigel Baker Bass and voc Chris Hughes Drum and Voc

plus the 'Shaddres' band at the Heroes Waterlooville, and the 'Shaddrers/Beatles' band at the Fountain, Rowlands Castle

Tangerine Slyde - Coconut Mushroom Timeline.

April 1964 school gorup at Hilsea Modern, The Jays.
November 1965 The Jays
Travis Raymar, Colin Middleton (V), Bob Rose (BG) then replaced Middleton as vocalist, Mick Legg replaced Rose on bass guitar, Steve Farrow (LG), Brian Grice (K), Terry Threadingham. Mid 60s, became Tangerine Slyde
Sepet 66-67 Tangerine Slyde
October 1967 Coconut Mushroom
April 1968 changed management to Mike Berry
July 1968 Turned pro.
1968 managed by John Abbott
August to October in Scotland and Germany
October 1968 John Clark and Barry Paul leave
April 1969 Barry Paul leaves
May 1969 Graham Barnes leaves, Mick McGuigan joins
February 1970 Signed for Decca Records
April 1970 Lyceum London Finalists in the Melody Maker Contest
25 June 1970 Mick and Barry join
Summer 1970 spent in Switzerland
December 1970 Roger left
January 1971 Nigel Slydel joins band
May 1971 Mushroom split.
Terry plays today in a band called Front Covers
_________________________________________________
Publicity material;-
COCONUT MUSHROOM
The group was formed in 1965 under the name of the "Inspiration". The Tamla sound the boys made eras interesting, but not exciting. Then, in August 1967 with the new San Francisco scene bursting on the horizon, the group made the switch to a light show and the new name of "Coconut Mushroom". This was a nice scene, but the boys were still doing soul to a progressive backing.
COLIN CARTER: VOCALS Fed up with playing "Harlem Shuffle" and "Amen" every night. Started to look for- a new approach to good sounds without needing a thumping beat and six saxophones. In the beginning of November he joined up with. . . .
GRAHAM BARNES: BASS; GUITAR He was also in the same predicament as Colin and had experienced an amount of success in the Portsmouth area with two groups - The Klimax and the Acadamy. Graham in his quest for a group playing his kind of scene had already gathered together the three remaining members of the new band.
Firstly. . . .
ROGER GRIFFIN: LEAD From Guildford he had received considerable experience in the Bumblies, a pop group looting around France for several months. He came back, met Graham and became the third Coconut Mushroom.
JOHN CLARKE: LEAD Is a Portsmouth "Mushroom" who freaked around with a semi "Psychedelic'Group" ' Morgans Camel '. :rain. ' , very quiet, John has already proved an ideal inspiration to the group.
TERRY THREADINGHAM: DRUMS Is another Portsmouth "Group" knocking everyone in the "Mushroom" around with his ideas and excellent drumming.
The music the boys play is a west coast sound with wild original undertones. It cannot be defined, but the overall sound is proof enough that the group was right in quitting soul and putting an exciting sound into their performance.
________________________________________________

copsey

Barry Charles Sutton, 21st January 1950 - 27th November 2011.

Barry played for many bands over many years.
Here is a list of the major known groups.


Five by five, Barry Sutton guitar, Brian Kemp (G) Mike King (D) plus 3 others?

Sonics, Barry Sutton guitar,

Jamies’ Kin, Barry Sutton guitar, Nigel Baker (G), Pete ?? (BG), Ken Keane (BG), Mick Cooper (K), Cliff Stafford (S), Jim Handley (D). 1966/7

Good life, Barry Sutton guitar,

Birth, Barry Sutton guitar, Patrick Collins bass, Bill Darling drums

Highway, Barry Sutton guitar,

Manion, Barry Sutton guitar,

Jet, Barry Sutton bass guitar,Ray Palmer vocals/guitar, Brian Kemp

Wickersneed, Barry Sutton guitar, Nobby Glover drums

Trooper, Barry Sutton guitar,

Solitaire, Barry Sutton bass guitar, Geoff Bearpark lead guitar, Paul Godwin drums replaced by Nobby Glover in 1979, and a singer called Denny replaced by Mark Andrews lead singer.
Solitaire became Signature
Signature, Barry Sutton guitar, Mark Andrews lead singer, Geoff Bearpark lead guitar.

Retromatic. Barry Sutton guitar,

Shadders. Barry Sutton bass, Nigel Baker bass, Nobby Glover drums,

barryticket

Colin Campbell, sax player with the Jack Hawkins Band at the Mecca Locarno.

398x

The Jack Hawkins Band, Trumpets: Terry Porter Tony Lindford. Trombone Harold Price Sax’s: Ray Nabarro Alto/Violin,
Colin Campbell, Steve Kennal, Tenors and Tommy Hawkins(brother of Jack), Baritone sax. Piano Joe McMillan, Bass t. b. a. Drums Kenny Duff Vocals: Elaine Hope and Barry St. Clair. M. D Jack Hawkins

The photo on the right was probably taken June 1964. I was an original member of the band, coming all the way down from Edinburgh in 2 cars, the drivers and passengers were Jack Hawkins and me, the passengers were Elaine Hope the singer and Jack's brother Tom who also was a vocalist and played baritone/alto sax. I left in Spring 1965 to go back to Edinburgh for The Andy Stewart Show –the musicians were supplied by Geraldo-- which ran through the summer until the Edinburgh Festival started from Aug-Sep 1965. --- which put all the local musicians on the dole. After September 1965, I played in the Kings Theatre Edinburgh with the touring company of The Black and White Minstrels—two shows a night starting at 6. 10 and 8. 40 six nights a week. We did his for 5 weeks non-stop---we soon memorised the complete pad—and whilst we actually played the music, we were also reading The Edinburgh Evening News—that is quite a memorable thing to be able to do. I remained in Edinburgh for Xmas 1965 but rejoined Jack in Feb 1966—i stayed for all the summer, but for the winter I again returned to Edinburgh to play in a nightclub in an Octet led by Andy Doolen ( I forget how he spelt his name). I remained in Edinburgh until Geraldo offered me the job on the Q. E. 2 so I came back down for March 1969 to rehearse with the Orchestra which was going to play in the 1st class lounge leader Basil Stutely. We rehearsed in London with Geraldo in attendance, We sailed on the Q. E. 2. 3rd May 1969. And travelled back and forth from Southampton to New York on a fortnightly basis. On the last forthright of the transatlantic crossings—I became the bandmaster and then led the orchestra under my name The Colin Campbell Orchestra in the 1st class lounge ( still have the programmes to this day. ) After the New York crossings I went cruising to the West Indies for 6 months but became seriously ill with peritonitis which developed into having to be operated on the ship late Jan 1970. I was ill for 18 months having had several operation in Barbados and Southampton. But after that the rest is pretty much history playing with the Fabulous Southampton-All-Stars up until recently. Incidentally Jack Hawkins introduced me to the lady who become my wife (Val) we've been married for nearly 39 years now.

Colin also now plays regularly with the Dave Pearson Big Band which can be seen on some Sunday lunchtimes at the Blue Lagoon, Hilsea Lido.

Memories from Alf Pink.

Pete Pinkney has lived in France for some years now. He and I started in my Mum and Dad’s front room in Woodmancote Road in 1961. I think “Yellow Bird” was the first tune we played together. Later John Bullock (Bass) joined us and Alan Patterson (Rythem Guitar) and we became the original Talismen. We only played instrumentals then but had a repertoire of about 50 numbers. Pete had a unique style all to do with never letting go of the tremolo arm (He will thank me for that). John Pete and I stayed together but other members came and went including Bert Parker (Billy Storm) and Mick Reeves of Arthur Ward Band fame. I left in late1963 and joined the Dynamos and years later our singer Roger Barber left to join with Pete, John and Dick Ray, who had replaced me in the Talismen, and they changed their name to Lace. Pete was a great lead guitarist and tells me he still receives royalties from songs he has written and sent to recording companies. He was in Aubrey Small and I am sure there are some recordings out there with Pete playing for both Lace and Aubrey Small. I have many fond memories of my time with Pete and John. Sadly we lost John last year. ”

From Ray Baker in Australia

The Ray Baker Story.
"My old mate Ray Brook (ex The Royals tenor sax) and I put together a band with Ray Todd ( Ex Metors UK Bass Guitar ) Nobby Glover on drums and I recall a gig we did at HMS Mercury one night. ) I had an old Standard Atlas van and had picked everybody up and on our way driving through the dark country lanes to the gig when we caught sight of a mouse in the headlights. There was no chance of me stopping in time and I ran over it and killed it.
The group all called me "The Mouse Murderer" that night and somebody swore that the spirit of the mouse would come back to haunt me. We did the gig and on the way back home in the early hours of the morning we all heard a strange squeeking noise coming from under the van. Of course the boys all said it was the curse of the dead mouse haunting me. This noise went on for some time until I noticed the van started to labour and it wouldn't progress very well so I pulled over, got out and looked underneath and to my horror saw not the mouse, but my complete front offside wheel hub glowing red hot in the darkness.
The wheelbearings had seized up. I managed to nurse the van back to Nobby's Mum's place at Bedhampton where we all dossed on the loungeroom floor that night. Everybody inventing songs and verse containing titles like "The Curse Of The Mouse" until we all eventually collapsed into sleep. It was my van, and I was an engineering apprentice so no guesses as to who had the job of fixing it. So this band which contained me as an ex "Furie", one ex "Royal" and an ex "Meteor UK" member with the later addition of Ray King (Baritone Sax) and Dave Gautrey (Trumpet) morphed into "The Frenzy" and eventually evolved into "Heaven".

Another very notorious gig haunt of ours was "The Shoreline Club" at Bognor Regis. New Years Eve 1967/8 saw me playing with two ex Royals, Ray Brook on Tenor Sax and Rick Semark on drums plus the "Gentle Giant" Ray Todd on Bass.
Just after midnight a huge 'on stage' brawl broke out between us and some drunken locals who wanted to get up on stage and sing and they demanded that we give them our instruments to play. Tenor sax player Ray Brook was quite a big guy who rode a Vincent Black Shadow motorbike and I can tell you now that it is a very unwise thing to demand of a very stroppy young guy like Ray Brook that you want his saxophone, particularly if you are standing looking up from the dance floor and he is standing above you on stage. Ray was pleased to oblige but "bad accidents' can (and sometimes did) occur …… Have you ever seen the damage that the vertical flange joint under a saxophone can inflict upon a guy’s forehead if he should suddenly jump up onto the stage and the sax "accidentally" strike his head with great force? I can tell you that it's not a very pretty sight to see a guy slowly slide down off the stage as his forehead opens right up between the eyes. . . . . Ooooh! very nasty and in that horrible key of B flat as well !
After several minutes of bloody battle that night, I ended up with an old-style solid glass Coke bottle smashed into the back of my skull which rendered me unconscious and during which time I had my night's earnings of about five quid stolen out of my trouser pocket. Fortunately I'd had the very good sense to put my Strat safely away before launching myself into the melee. Further punishment of several hours at Bognor hospital emergency unit with a very unsympathetic, typically obese Matron shaving my long locks off and digging glass out of my skull with a scalpel and pick without any anesthetic brings back very nasty and painful memories. I think I got off lightly compared with the two poor buggers that were "Selmered" in the head by Ray Brook's Tenor sax. Fortunately there was no police follow-up at all although my Dad was absolutely furious at the theft of my wages and he swore for weeks afterwards, " I'm going to pour 5 gallons of petrol round that bloody Shoreline Club and set light to the f*****g place". I think it did eventually burn down a year later. . . didn’t it? Oh the joys of being a young muso eh? I can still feel that scar on my head to this day. "

I was born in St Mary’s Hospital on My 6th 1947 (at a very early age) I lived and grew up in Tangier Rd then in 1968 moved to Dover Rd Copnor. I attended Westover Rd Infants School; Langstone Rd Junior School; Copnor Modern School in Copnor Rd then did six years as a Mechanical Engineering apprentice at The Metal Box Co in Burfields Rd Copnor attending both Portsmouth Technical College at the back of the Guildhall and later Highbury Technical College when that opened.
Around 1967/68 I was at Highbury College studying Engineering and in the evenings/weekends playing guitar. I had been playing with Colin Broom in “The Memphis Five” a great group who didn’t seem to do a lot of local work but were employed in Europe and were just about to go back to Germany, then up to Scandinavia and finally on to the USA. At last I thought! I’ve made it, I’m going big time. The only thing in my way was my legally binding indentured apprenticeship with The Metal Box Co. I fought them for many weeks to release me and just as I had finally won approval to leave, the group’s singer had a massive row with his Dad (who managed the band) and they split up. Lucky me eh? Just in time to save my arse. I had egg on my face at Metal Box, but I was at least still employed and relatively safe from Dad’s cursing bloody guitars and rock and roll. ( “It won’t last more than another year you’ll see” Metal Box never let me forget it though, neither did Highbury Tech as my attendance and grades had really faded. Year later I never let my Dad forget it either and in the 80’s on one of my UK visits, I caught him listening and singing along to The Beatles and UB40. “This lot are quite good” he said to me. So here I am with my VOX AC30 amp , Klempt Echolette and a 62 Strat but no group to play in, so I joined up with my old schoolmate Ray Brook on tenor sax ( ex The Royals). I had also been playing earlier with The Meteors UK who had split so I got hold of their ex bass player Ray Todd and Ray Brook persuaded Rick Semark (also ex The Royals) to join us on drums. We did OK and were doing the usual local circuits plus some gigs in Southampton; “Portsmuf Gild-aw” Bournmouth; Bognor; Brighton; Wantage Town Hall; Newbury Town Hall; sometimes up to Luton also to London at Tiles Club in Oxford St.
We played mainly the then current soul material plus a few novelty numbers that were also commonly played by “Sounds Incorporated’ a band that you may recall. These guys were a band that we knew fairly well and often crossed paths with. As you probably know ,Sounds Incorporated also became quite big and supported the Beatles on their Australian tour. Our Tenor sax player Ray Brook was quite friendly with Sounds Incorporated’s tenor sax player, Griff West who had a really wicked sense of humour that I will tell you about later. Ray Brook’s secret ambition was for us to have a similar line up to “Sounds” so we needed a keyboard player and Baritone sax player. Keyboard OK but a baritone sax player we all said …. no chance! An younger apprentice that worked with me at The Metal Box Co had an older sister Jenny that played piano so I went to see her and we got her along for a session one rehearsal night. Jenny joined us and bought a VOX continental organ and a Gretsch Amp. We were on our way, the sound was thicker but we were still short of that Baritone player so I put an ad on the notice board at Highbury Tech.

We played for quite some time with that line up then Drummer Rick Semark left us and we got Nobby Glover, Ray Todd left to get married so we got Mick Gover to join us then we received a call from Ray King (Baritone sax) who had seen my ad at Highbury. He came to an audition with his mate Dave Gautry who happened to play trumpet. Nobody had asked for a trumpet until we all started playing something like ‘Knock On Wood’ and he joined in. Well that was it ! The sound was what we’d all been looking for and “The Frenzy” was now well and truly on it’s way. So to get back to (Sounds Incorporated’s) Griff West’s sense of humour. We were playing one night at RAF Tangmere in West Sussex as the support group to Sounds Incorporated, a job we sometimes did when they were in the area. We are onstage playing and right in the middle of a song when our Drummer Rick and keyboard player Jenny Miller burst out in absolute stitches of laughter behind us. Ray Brook and I turn around to see that Griff has come into the wings of the stage and just out of view of the audience. He has dropped his trousers and underpants and has what we now call: “Chucked a Brown Eye” or “Mooned” us. His bare arse is there with his balls dangling for all of us to see. Well as you can imagine it wasn’t easy to continue playing with that sight behind me and I certainly couldn’t sing. We decided that we would do it to him when they went on but there was a bit of a fuss with somebody backstage so we couldn’t reciprocate. So as I said I thought by then that we were on our way but every morning when I awoke, the middle two fingers on my left hand wouldn’t open up. It got worse by the day and to the point that my playing was really suffering as I couldn’t hold down a chord or move my fingers quickly as I had been able to, over the fretboard without a lot of pain and bum notes. I desperately needed an operation.
At that time the name Frenzy was associated with a perfume so we also needed a band name change. We were rehearsing in pub somewhere behind Commercial Rd I think and for a joke I said: “What about The Universal Trash Band” There was no laughter, but a lot of mumbling and I couldn’t believe it, here I was taking the piss then everybody suddenly agreed with the name. I then left to have my hand operated on and that was that! This band shortly thereafter became “Heaven” (a name I had nothing to do with) and the rest you know. Shortly after becoming The Universal Trash Band, my hand had become worse and I needed that operation. I left the group around June/July 68, had the operation and was told by the surgeon that I probably wouldn’t be able to play properly again for many months, possibly even years. There was no such thing as free physiotherapy then so feeling absolutely disheartened, I sold all my gear and bought a Mini Cooper to pursue my love of cars . I had now ceased playing, other than at home on an old acoustic which hurt like hell. I got married in May 1970 ( yes we are still together ) I had been working hard getting my hand back to a level of fitness where I could play again and in the summer of 1971 my wife Dee and I went over to the Beach Club on Hayling Island to see my brother Bryan(deceased) and Pete White playing with “Blue Sand”

They were doing old 60’s rock and in the second half the stopped and announced that a well known local guitarist would be joining them for a rock medley. I thought “Oh this will be great, it’s probably Mark Tuddenham or Geoff McKeon”. But no! Out of the blue that bastard Pete White, my lifelong friend from school, suddenly announces my name. I said ‘sorry Pete I don’t have a guitar” but you cant pass Pete off just like that. He said “ don’t worry Ray, Ive got my brother Jeff’s Fender Jag here, you can play that”. Next thing the crowd is demanding so Im up and playing again. We stayed together as Colours doing Sinah Warren winter and summer gigs as well as other local country gigs up until Pete shoved off to Florida in 1975. Pete was replaced by Graham Wilson ( where is Graham now?) Graham left after a year when I managed to get my old mate Pete Bugg (deceased) to come and play. The band finally split up when Dee and I came to Australia at the end of June 1979. Many trips back to UK and visits to Pete Bugg’s house found me suddenly thrust into an impromptu position as bass or guitar player with one of Pete’s many collectables slung around my neck for
a gig he had on that night somewhere in or around Portsmouth. I would be introduced by Pete Bugg as the stand in new guy for the night. With Pete grinning from ear to ear and my back turned towards local icon keyboard player Rodney Watts (who would at that time have thought I was in 12000 miles away in Australia) I would grunt an “alright mate"

From Paul Emery

stevegould
This picture, Brian Picton, Nigel Collins, Paul, Steve Gould, Pete Collins, colectively known as The Steve Gould Band, was taken at the Radical Club 1977 we used to play in there a lot. . . The band is The Steve Gould Band. Pzul Emery playing drums in platform boots and massive flared trousers with 3 button high waists. . . the bass drum beater used to find its way up his trouser leg until he started rolling the hem up. We made maybe 35 pounds a night in there.

From Colin Dowsett in NZ,;-

I think Fossy is right- he's got a great memory! It must be the same Steve Gould. He was one of the singers in the first band I ever played live with called The Aim which played a mixture of RnB, Motown, Souls and Blues. Steve was one singer and Brian Foster whom I met again in later years and still lives in Copnor, I think, was the other. They were both at school at the Tech. They were particularly good at the Sam and Dave bit. We played one biggish gig at South Parade Pier called "Swinging Summertime With the Aim" (!) and playing with us were the much more accomplished father and son from Bennetts music shop in Fratton Rd with their combo. Apart from me (on lead and sometimes bass guitars) the other members of the band were my old mate (to this day) Steve Guy on bass and sax and a really nice West Indian guy named Russ Celestine on drums. I heard later that Russ died at a tragically young age from cancer. But later the lineup changed and Steve Guy and myself went over to playing exclusively blues. It looks like Steve Gould went into the glam rock scene from the outfits of his band.

From Chris Fossy Fosbrook

Thats it, I couldn't remember The Aim, should have done because I used to drive them around for a while. I was the only one with a car. Of course Colin went on to form Chicago's Insolence.

Dragonfly

April 28, 2012 From John Upton:
“I was the drummer in the band Dragonfly, which gets several mentions on your 1969 page (see the Pompey Pop website). As you report, we were a group of 4 or 5 14-16 year olds, still at school at that time. My brother Dave was the lead singer. He now lives out in Tenerife. I am not very good with names so I don’t really remember the other guys in the band, except our guitarist was Mark Lundquist. I lost touch with him, but more than ten years ago, I went to see a Joe Meek tribute evening at the King’s Theatre in Southsea, featuring Billy Davis, The Honeycombs, The Tornados (featuring Clem Clattini), and Mark was up there on stage playing his guitar as a member of Cliff Bennett’s Rebel Rousers! I was gob-smacked.
Our dad, Dennis Upton, acted as our Manager and Roadie. Being still at school, none of us were old enough to drive, so he had a dormobile to take us to gigs. He did very well booking us into gigs across the area; we played the universities along the coast, Brighton and Bournemouth as well as the Portsmouth Polytechnic. It was interesting that we on stage were younger than the students to whom we were playing. I seem to recall (unless it’s my mind playing tricks on me) that we were once booked as support band for Caravan at Kimbells. They had no idea who we were, but I think we did OK as an opener for the evening.
Dad of course was the one who spoke by telephone to Spinner on the Portsmouth Evening News, feeding him all the information about the band, which is why we got mentioned so frequently. He was never a musician but he loved what we were doing and being part of the scene at that time. He passed away last Christmas at the age of 80 and it would be good if you could mention him on your page of people who were part of that scene and who are no longer with us.
For more band members names, my brother Dave might be able to help. I sent him a link to a couple of your pages earlier this evening so he should know what you are referring to if you should contact him. I regret that I don’t have any publicity shots of the band that I can share.
Finally, you might be interested to know that I am still in a band which was formed at the end of the ’80s and took the name of Dragonfly, so the banner is still flying in the Portsmouth area (actually I believe there are 2 bands using that name, but I would claim the rights due to my membership of the original 60s band of that name). We play covers of 60s, 70s and 80s material and mainly play for charity fundraising events. We played in Fareham Town Centre earlier this month as part of Fareham’s Music Month programme.
Dave Zammit Says: April 29, 2012
Mark and I went to boarding school together and are still in contact, I spent many an hour at his home during this period and am well familiar with the Dragonfly story, Other than John and Dave Upton and Mark Lundquist, the band was Terry Holland on Lead Guitar, Richard Vernon-Harcourt on Bass , who if I am not mistaken was superceded by Gary Twigg. A drummer named Terry Martin is in the picture somewhere as well, though not 100% it seems to me that John Upton left the band at some point, was replaced with Terry, while his brother Dave stayed in place. . Lundquist, Holland and Twigg played together for some time, and having added Clive Restall on violin and Derek Quinton on drums they later became Fernhill who I seem to recall recorded an album for I think Tiger Moth Records.
I've heard again from John with more information about Dragonfly and a question at the end for me about when I might have played on the same bill as them. Well here’s at least one answer (above, I was in Rosemary)- a pretty significant gig since it brought a close to the super swinging sixties in Southsea. Here’s John:
From John Upton: 1st May 2012
“Since writing last time, I have been digging around and I have found the programme for a Northern Grammar School sixth form concert in July 1970, at which Dragonfly made a guest appearance, and which lists the Dragonfly ine-up. So I can now give you full details as follows:-
Vocals – Dave Upton
Lead guitar – Terry Holland
Rhythm – Mark Lundquist
Bass – Garry Twigg
Drums – John Upton
Violin/ fiddle – Clive Rectall (we had this additional instrument and player with us for several months although not an arrangement that stayed in place for long). I see that at the same concert a band named Aphrodisiac was also playing. Again, a line-up is given if this is of interest to you. Mark now lives up in Ripley and is involved in music promotion and Gary has been playing for years in Roger Chapmans band. I’m flattered that you remember Dragonfly.
dragonfly-1 dragonfly-2

geedees10

Mick Cooper

1958 First ever on stage performance playing the recorder in the Portsdown School Orchestra at Copnor Methodist Church.
1964 First paid gig at Andover TA Hall with the Portsmouth group, the Original For-tunes. They later changed their name to The Rampant. Group included Ron Hughes, Ken Hughes, Dave Cawte, Paul Spooner, Pete Richardson, Jo Lake Don Golding
1967 Joined Jamies Kin for just a handful of gigs, with Nigel baker, Jim Hanley, and others .
1967 Joined Soul Society, with Phil Freeman (V), Stuart Ward (G), Doug Chalmers (BG) replaced by Mark Hunter (BG), John Davis (G/S), Mick Cooper (K) replaced by Rod Watts (K), Graham Parker/John Pratt/DuPret/Alan Dodds/Kenny Hill drummers
Late 1968 Joined The Universal Trash Band, who instantly changed the name to Heaven.
Played on the 1969 IOW Festival. Brian kemp, Andy Scarisbrick, Ray Holloway, Ray King and Dave Gautrey.
Left Heaven early 1970 and worked with drummers as a duo. Mike Spring, and Alan Fraser.
1972 Joined up with Geoff Davis and Jim Armstong, semi resident at the Spring Inn Sholing, Southampton.
1973 Summer season at Highfield Holiday Centre, Clacton on See with Geoff, Jim and Shelly Marden.
1974 Started at the Honky Tonk on South Parade, Southsea, with Geoff Dave and Jim Armstrong. Later joined by Dave Knight and Chriss Lowe. Geoff left for a time and returned with a new line up of Nobby Glover and Fred Illingworth and myself. Nobby left and was replaced by Mike 'Clump' King.
1980 Left the Honky Tonk and continued as a duo with Mike 'Clump' KJing. One nighters, and three summer seasons on South Parade Pier 1981/82/83. The final booking was at Hove Town Hall on new yerars eve 1985.
1986 Continued as a duo with different depping drummers, who included John Hammond, Roy Huggett, Ron Lang, Harry Gray and others.
1992 Decided to go solo as the keyboard I played had bass and drum sounds.
2008 New years eve at the Red Lion Hotel fareham, my last ever 'on stage' performance.
mm2 mm3 mm4 mm5

houldsworth

Dave Allen with Gerry Houldsworth

Gerry Houldsworth

Many thanks for bringing round the copy of your ” Pompey Pop Pix ” book. I will endeavour to read it from cover to cover as well as just looking at the pictures, very interesting to see Terry Flynn on Vibes in the Club Quintet, he later took over from Ron Bennett and I played for it once when I first came out of the army. Previous to that he had a very modern jazz outfit with Ricky Price ( mechanic at Wadhams ) and Sid Hayward ( Co-op roundsman ) on tenor playing the Miles Davis ” Birth of the Cool ” numbers, and I played for them whilst I was still in the Lower Fifths at the Grammar School, no pictures I’m afraid of those early days.

The Trevor Nabarro Quartet was all PGS , being Trevor on alto, Tony Day Piano, Lew Morey drums and me on double bass. From 52- 54 we played virtually every weekend at every church hall for every youth club for miles around before three of us had to go for army service. This band also had to augment with more semi-pro players for more formal occasions in real dance halls. The quartet at the 1956 festival at the Savoy did not have we three because all being in the same year at school were all away from 54-57 so missed all the action in the last days of dance music before “Rock Around the Clock in 1956?, Trevor being deferred at university.

This past week I have been searching through many thousands of old photographs ( I was the staff photographer at Metal Box for fifteen years ) and hopefully I will find some band pictures and again hopefully my wife will scan them in and I will send them in a next email.

Mike Devon, from the NEWS 23rd December 1995

mike23-12-95

Threshold

threshold

In 1963 john Wilson & Trevor Price played in a Portsmouth band "Blues Unlimited". John Wilson then formed a duo "The Jays" approx 1965, the Jays then became a trio, after that Price and Wilson then started the Portsmouth band "Outer Limits" In 1970 john Wilson joined London band "Pure Gold" and then went on to play in Scottish band "Sweet Filling".

Threshold got together in 1975 and was signed up by head of promotions Allan Heather of ATV music after he was a judge at the competition at the Centre Hotel in August 1975 for the National talent and music writers competition, in the colour picture with the telecoms advert left to right is John Wilson – keyboard/vocals, George Allen – bass guitar/vocals, Paul Russell – drums, Trevor Price – lead guitar/vocals.

A later Threshold was formed replacing Paul Russell – drums with Danny Rowlands, and Dave Williams replaced – George Allan on bass guitar. In the late 1970’s Threshold split and John Wilson and Trevor Price left and went on to join "Chicory Tip", under the original singer Peter Hewson. After that john Wilson and Price started a synth based duo "The T Jays" which lasted approx. 10 years John Wilson then went on his own under the name "Just John" doing the circuit and 2008 entertained on the Costa del Sol now back in UK.

Danny Rowlands

dan1.jpg dan2.jpg

THE OUTER LIMITS 1967
Trevor Price (LG), Norton Davis (BG), John Wilson (K), Richard Baker (D), John Shepherd (D), Danny Rowlands (D).

click here for SHAZAM 1976 - 1977

click here for THRESHOLD 1977

PROWLER 1983
Chris ? Bass .Andy ? 2nd Guitar Steve Jones ,Vocals .Mick Duff Lead Guitar .Danny Rowlands Drums
DYNAMITE Rock n Roll band ..( 1986 )
Ricky McKay (guitar vocals n Harmonies)...myself (drums ). ..Dave Williams (Bass Vocals n Harmonies )....Ricky now JOHNNY CASH Tribute
THE RIVALS 1988
THE STREET RODS. 50s Rock n Roll band ...1989- 1993
BILLY J LEACH n the HUMBUGS. 60 s band 1994
Danny Rowlanbds drums, Danny (dep) from Mafia days Guitar. .Carly Vocals/backing .. Andy guitar/vocals, Steve Bass /sound.
Claire Vocals / backing (Andy n Steve now ....The BOG ROLLING STONES.)
THE FENDERTONES 2015 Mark Bowles guitar/vocals, Danny Rowlands drums and Dave Williams bass.

from Mick Glover

mgskiffle

In answer to those who ask, when did you start playing etc? I've tried to give some answers below. These were exciting times musically, and very special to those of us who had the good fortune to take part. My first group a trio, had Mike Orton washboard, Dave Barber box Bass, myself on Guitar we were booked to play at the Southampton Guildhall supporting Mitchell Torak who had a top 20 hit "When Mexico Gave up the rhumba to do the Rock n Roll" followed by "Down in the Carribean ".
I had hired a PA amp and speaker to play my guitar through. I fitted the pickup to the guitar neck while travelling in the car to Southampton. The lead was only 5 ft long so I couldn't stray far. Toraks is now a leading light in the LA music scene and he's still gigging.
Terry Wiseman, Mike (Flash) Orton and myself met at Copnor Road Secondary modern school where we were all in the school orchestra.
My first real group consisted of Barry Baron who I met in Bennetts music shop in New Road, when I returned the PA amp, and myself on guitars, Dave Barber box bass and Mike Orton on washboard. We played for an ox roast at Southsea Castle, Flash played so hard his fingers bled. We sang through the Tannoy mic using army metal speakers. it was the only PA they had. Over 200 were crammed into the WW2 army hut.
Terry agreed to join us and Flash bought a Double bass on HP. As he had played violin for four years, the bass came naturally to him. He was also a great showman and did all the tricks he'd seen Bill Haleys bassist perform. Barrys Dad bought a Selmer guitar amp in Bennetts New Road which Barry and I both played through.
I was apprenticed to the Chef at Kimballs Osborne road at the time, and Terry Wiseman used to appear at the end of the kitchen on Saturday mornings and take lessons from Roy Richards bands drummer on reading drum parts, tapping it out on a wooden bench.
We not only played at all the venues in the area, we also opened our own Monday night rock club in the RAF hall in Cosham where we also provided refreshments in the shape of Coco Cola. A large lorry would deliver large quantities to my parents house in Algiers Road and collect the empties, my Mother had to endure crates piled up in the hall and front room all week.
mg1 We had regular spots at the LDB on saturday mornings Sonnies Club in Addlestone, the Two Eyes, Greek street, and the Mapleton Hotel Leicester Square, Rickys Club Fratton and the Pom Do'r Southsea. The band played at every venue in Portsmouth Including the Empress Ballroom at the top of Stubbington avenue where there was a supermarket but now is closed down. We won the Southern television award for 1957/58, Pic of me and Trophy. About this time we did a talent show at the Kings theatre, those on the bill were Michael Holiday, the King brothers, etc. We won and appeared on the Carroll Levis discoveries show(fore runner to the Hughie Green Opportunity knocks show) on ATV Christmas 1957. We appeared on it again in February 1958. We won another show on Bognor pier for which the prize was a series of Sunday night shows on the pier. We also had a regular gig at the Beach Club Hayling, plus of course the Saturday mornings at the LDB Landport. There were other venues which have since disappeared, the dance hall in the Odeon Cosham, Tinas night Club on western parade and another night club in Southsea Claradon road? The Court school of Dancing, who wanted to try live music, asked us to play which resulted in a regular Sunday night spot. They even took us by coach to play at another Court school in Leicestershire.
We played the the Commodore theatre I. O. W where we opened the show, others on the bill were Craig Douglas, the Most Brothers (Micky Most went on to become a Millionaire record producer he borrowed a plectrum from me I never got it back) Ronnie Carroll, Terry Dene, Chas Mcdevitt and Nancy Whiskey. (it was Tommy Steeles house warming that night and Micky Most asked us along) we didn't take up the invite. Our last gig was in the Savoy Ballroom on Monday March 17th1958.
I was called up and I reported to the RAF on March 20th 1958. After training I was posted to RAF Alness in in the Scottish Highlands.
In early September 1958 I managed to get a posting to RAF Colerne in Wiltshire which enabled me to get home every weekend. I formed the Combo in mid September. This consisted of myself, two 16 year old guys from the Southern Grammar school, Steve Stevenson guitar, and Alan Songhurst on drums. Tony Seale played bass. (studio pic) Our first Gig at Caesers Club North end.
We regained the Saturday mornings gig at the LDB. Tony and Gill Hutchins came to see us there. Tony Seale left to get married and a school boy named Mike Beacon joined us on bass.
We did a show at the Troxy with The Mudlarks where we also won the Daily Mirror talent show The prize which never materialised, was an ITV Saturday night TV show.
It was about this time we had regular resident nights at the Beach Club Hayling Island. Various clubs in Portsmouth, Civil Service Copnor Road, Dockyard club, British legions etc. This continued for a few months when we were invited to become resident band at the Top Hat Littlehampton. (Pic) This was where I met my wife Gill who was singing and playing guitar with the Crestas.
The band started to break up, Alan Songhurst (Satch) left to do his A levels and was replaced by Pete St Clair. mgfourSteve also packed up a few months later to continue his studies. Pete, Mike Beacon and I then formed a trio backing a girl singer whose name escapes me "Patsy ? The trio lasted until April 1962 when I secured a job as a personal Chef to an American millionaire. While In Paris I saw Digger Hart playing bass for Michael Halliday, on one of the first film Juke Boxes.
This ended my musical career until 1969 when I became a catering manager in Amesbury. One evening a trio comprising, Hammond organ, drums, and a guitar vocalist, were playing and suddenly a fight broke out between the organist and guitarist. The guitarist dropped his guitar, told the organist to "get stuffed" and walked out, leaving behind a dented but otherwise playable guitar. l approached the "duo" and told them to continue to play as the audience were complaining, the organist who was also the singers father said " I can't play without a front man"( he also couldn't play without large quantities of beer. )
I picked up the cracked guitar, tuned it and said "do you know Lazy River?" back in the business again. I was approached by a well known Salisbury Dance Band "The Debonaires" to play guitar and sing. It was very successful, we played opposite the Victor Sylvester Orchestra at the West of England Ballroom Championship. We also secured regular gigs at various public schools.
Among the audiences at other gigs we were watched by members of some of the best 70s bands, including Dave Dee, Dozy, Beaky, Mick and Titch and The Troggs. I was transferred to Preston in 1976 and we stayed a year before settling down in Alton.
I received an urgent call in early 1977 by the Premiers, a well known band in Salisbury asking if I could take over the Band as the lead singer had electrocuted himself when the band were rehearsing. The PA amp earth touched the live wire, the mic stand was live and he died instantly when he touched it. Back in it again.
My son David Joined the band playing bass when he was just 13, the band which now numbered 5 and we became the Debonaires again. He still plays the odd gig with me, but usually, these days, I just do solo gigs, and are either for the diminishing club circuit, or private parties etc. We have bookings till New Years Eve 2012 when I celebrate my 75th, I've said I'll retire then, but it depends, I don't use agents, but if someone asks me to play then,... ? regards, Mick Glover.
glover

Phil Freeman

phil4 phil

Phil’s Story
“I guess I was no different from any other 11 year old schoolboy in 1959…. After nervously completing the ‘11 plus’ exam, there must have been a certain trepidation as to what the next part of your future would be like……………………. Well I was ‘graded’ to become a pupil at the ’Portsmouth Technical High school’ (sounds posher than it was), where by the grace of the ever curious Reg Wassell I was deemed good enough to be an alto voice in the school choir
At home, I vividly remember the sessions under the bedclothes listening to Radio Luxemburg on the ‘cigar box’ crystal set and becoming ‘hooked on Glasgow’s Chas McDevitt / Shirley Douglas / Nancy Whiskey’s ”Freight Train” followed of course by the great Lonnie Donegan singing about his old man who was a refuse operative…..From rock and roll to skiffle to blues seems to be how it went as around the corner was the blues of Bo Diddley ….
Here I think was my first mad leap into the world of music making and I made a rectangular bodied guitar (a la Bo) from marine ply and a lump of mahogany strip found in my dad’s shed, strung it with catgut, and with willing (but I feel somewhat mad) personnel who I have no memory of with the chest & broom handle bass and gran’s old washboard, we tried to make something happen!!!!!! ……..I don’t think it was all that good, but I have Reet Petite in my bones…….. (thanks Phil)”
“Having found and discarded the usual hobbies during the early secondary years, I have vivid memories of a group of us around the table in physics lesson when the best ever idea was hatched: to ‘make up a rock and roll band.’ Now let’s face it, nobody knew much about any of it, except maybe me…..I had credentials to be the singer eh…..
1964, answer advert in the evening news for vocalist in local band (the Concords)………succeed in ‘landing the job’. At this time of course, I had no P.A. equipment but was able to persuade the guitarist (Stewart Ward) to use the ‘home’ built unit for his guitar amplification, and eventually got the rhythm guitarist (John Davis) to buy the second-hand tenor sax, and only use the rhythm occasionally plugged in with the lead guitar amp…..I don’t think this happened very often.!!
VOILA!!!! Now there were two Vox AC30 cabinets…One was used for main amp and the other with amp disconnected was the other half of the system…. Microphone cables trailed to one side of stage and there was my P.A. (I think I got this idea from early days of Manfred Mann)……….
This was excellent for a time, and then I decided I would use my woodworking skills and construct a pair of columns (2 x 12” celestions), and combine this with the very popular Linear Choncord (amp in a cage), which I found in the back of that wonderful shop that used to be opposite The Fawcett Inn, where you could get all manner of electrical gubbins………….
Next was me breaking my dad’s rule about hire purchase items and waltzing into Minns Music , and purchasing on credit the Selmer treble and bass fifty system and Shure unidyne mic and stand that I was so proud of and looked so cool at the time………………….
A mention here for those interested in transportation of gear at that time: How much gear can you transport to local gigs in Dave’s mini-van? Answer: all of it if you make two or three trips , with the back doors open and tied up with the obligatory length of rope.
It made for a long old day. Begin apprenticeship as carpenter / joiner, and have found new hobby—MUSIC . Now, as then, I am an ardent fan of Soul Music—-heroes like Otis Redding/ Bobby Bland/Joe Tex/Eddie Floyd /Clarence Carter (the list goes on), Stax / Atlantic studios house band,the big brass section /the rhythms/the ‘good vibes………I instigated a lot of the musical changes from blues style to soul and the name change,whilst being able to pre-order records from Weston Hart,and being able to rehearse a lot of material and have it in our play list before it was on general release here,served as a bonus toward our popularity I feel….During our ‘best year’ 1966, we managed to win the beat group competition at Weymouth with just 2 points short of the 100..(5th place in final),I think we got voted # 2 local band,and there was talk of us jumping into the spot locally that was vacated by the hit parade commitments of Simon Dupree…….. What ever happened to that idea?
My brother Roger had gotten involved as our ‘roadie’ , and being 3 years older than me, I felt pretty good about having his ‘interest’ For something else to occupy his time, he got involved with Ernie Sears and The Rendezvous Club as doorman/refreshment stall operative/and paste and bucket person on the night run putting up the posters……How good was this. I had connections and could get into the club for nothing (apart from maybe manning the refreshments sometimes,and helping out on the poster run…
Through those grand doors,down the grand hallway, up the grand staircase,into the grand hall…..this is where it kind of changed as it turned into a gathering of teenage souls in various states of being gathered to enjoy THE MUSIC….(my hobby)..Not only being able to soak up the ‘sounds of the sixties’ from some of the best at the time, but of course along with the best of our local groups of the day, actually playing support spot on many of those shows in what in its early days was probably THE place to go for a good night of…MUSIC.
Great days , great memories, and very possibly I may soon be able to return, as they are planning to turn it into an old peoples’ home …….I can’t wait……..”

Larry Nicholas

A piece by organist Larry Nicholas of the terrific Pompey 60s R&B band the J Crow Combo “In the early 60s, I used to play in a trio at weekends in the Old House At Home in Locksway Road. I played organ with a guitarist and a drummer,and we would play traditional pub music plus all the latest offerings from popular groups of the time such as Herman’s Hermit, the Searchers and Manfred Mann.
In fact, we catered for all and the pub would be very busy, with an early arrival to get a seat. The music scene was high profile in Portsmouth in the 60s and I played with a group called The J.Crow Combo, and John Crow lived I believe in Rosetta Road, The combo were managed by Ricki Farr, who set up The Birdcage venue, firstly at Kimbells and later in Eastney, he subsequently organised the 1969 IOW Festival and is now an impresario in America now.
The group turned professional later but the managers then were not particularly scrupulous and so I left and continued playing in local clubs and venues.”

bestspecprog

Pete Crew

Beginning back in the mid-sixties to current. I began my musical career in a couple of ‘house-bands’ (The Solents ; The Medallions) literally playing covers at private parties for friends in the Paulsgrove and Cosham area. To be honest we weren’t that good even though we had a loyal following. (Drunk I think)
After a few personnel changes we developed into the MOOD. We were gaining a decent reputation but it wasn’t until we merged with another local band to play in a musical festival contest in Weymouth that it all came together.

MOOD (66-68) - Steve Wyllie - keyboards; Pete Crew - Lead vocal, guitar; Steve Phillips - g; Steve Mitchell D; (replaced by John Lines D;) ; Fran Galloway v (replaced by Dave Hill bass) In Weymouth we played some original songs written by me and some well known ones arranged by Steve Wyllie that brought us to the attention of a guy from EMI. After the contest - which we didn’t win - the two halves of the new group decided to stay together. But I wasn’t totally happy with our new music style and left the line-up. It was around this time that I decided to audition for a soul band. I liked soul - still do - but as the audition proved, I couldn’t give it vocal credit. However I enjoyed it as far as it went, since at least it gave me the opportunity to sing with Mr Cooper and friends. I wasn’t too disappointed at not getting the gig because shortly after I got a call from EMI. They asked if I had any more songs. I did, but I didn’t have a band to develop them. So I formed Baxters Art Of Tomorrow which was a really good and under-rated group. We could have gone on.

BAXTER’S ART OF TOMORROW (68-70) - Pete Crew -lead vocal, guitar; Dave Fisher - lead guitar; Clive Held - drums; Gordon McKerrow - bass BV; John O’Donovan rhythm guitar; (replaced by Paul Brown guitar) Baxters played a mix of my original songs and pop and rock including ironically Smokey Robinson’s ‘My Girl’. Sadly much to my disappointment the group split due to exterior influences . When John left Baxters I helped him put his own group together - even sitting in with them too. The Strange Case Of Watkins World had a teenage Andy Hamilton (later to work with Duran Duran and Paul McCartney) on guitar and saxophones. Unfortunately I can’t remember the drummer.

THE STRANGE CASE OF WATKINS WORLD (69) - Michael Charlton vocals; John O’Donovan lead guitar vocals; Andy Hamilton guitar saxophone Pete Crew - guitar, vocals; A N Other - drums I then concentrated on a solo career playing every major venue in Hampshire and West Sussex as a disc-jockey and as compere of entertainment shows. Then I was invited to join a six piece band Brown Split. Reluctant at first, I agreed and we morphed into October Hill.

octoberhill OCTOBER HILL - pictured right (71-73) - Lynn Gaylard vocals; Graham Harding lead guitar vocals mandolin; Nick Bryant bass; (replaced by Graham Beech - bass) Pete Crew - vocals, guitar, drums; Geff Coats - guitar, vocals, violin We played many pubs in the area including the Black Prince, The Viking and Spread Eagle among others. I was offered more solo work so took on more discos playing resident gigs at the Oasis, Rendezvous, lots of private work and then I began radio presentation. pictured

twomanband TWO MAN BAND pictured right (mid -late 70s) Pete Crew - vocals, guitar, drums; Terry Dowes - vocals, lead guitar; Martyn Harris - guitar; Doug Watling - flute; Nick Bryant - bass.

In the late seventies I opened my own record store on Fratton Bridge (October Records) where lots of local musicians gathered becoming a popular meeting place. interior pictured With my interest in how music and recordings came together I became a music researcher, historian and archivist for Radio Victory often appearing as a guest on different shows.
Whilst running the shop I also became the British Music Editor for two overseas magazines - one in Canada the other in Japan. My stage reputation was also growing and among the diverse gigs I did during that time was supporting punks Sham 69 at Clarence Pier and heavy metal Samson at the Mecca. In 1981 I joined Chichester Hospital Radio where I continue to be the Head of Programmes. Among my duties are teaching radio techniques and scheduling 24/7 programming. Many of my trainees have since forged successful careers in radio and television broadcasting. I too followed a similar path.
After passing an audition for the BBC I was given a free hand to produce my own shows. During the first Gulf War I did the graveyard shifts - sometimes seven or eight hours at a time. As a broadcast journalist specialising in music I have since worked on several commercial radio stations in the UK and in America. For ten years I was the Local Channel Manager for cable television where I produced sixteen nationwide television programmes each week. I believe in giving others an opportunity so I devised a community show showcasing student talent.
Currently I present the Book of Records - a two hour award winning specialist music show, every Saturday morning for Express FM. I compered all of the original Gosport Festivals, when we had a galaxy of top names appearing over a ten day period. During that period we had the likes of Take That, Kool and the Gang, Osibisa, Bob Geldof, Roger Taylor (of Queen three times) Roger Chapman, John Martyn, Richard Thompson, Squeeze, Jools Holland, Julian Lloyd, Webber and the Bournemouth Symphony Orchestra. The list is long and impressive but my favourite has to be the brilliant BB King who I worked with twice. pictured For the past four years I have fronted the Gosport Waterfront Festival (pictured) and will be back again this year. I’ve also hosted the Christmas Lights switch on in the town during the same period.
Over the years I have played most of the major venues in the city even many of the Bandstand concerts every Summer. And that virtually brings us up to date.
Regards Pete

peteguitar petedrums peterecs
petestage petefest

Think

The band was formed in 1965, practising in a house in Leominster Road, Paulsgrove ( They had good neighbours, who used to come in and listen to us!). We were all Portsmouth Boys.
Band Line up: Alan Deadman - Vocals. Phil Chipps - Lead Guitar/vocals (sadly no longer with us. Died in 1985 of Cancer) Tony Bartram - Rhythm Guitar/backing vocals. Pete Corns - Bass and Barry Jakeman -Drums.
First Gig: Cosham Police Club 7th Jan 1965. Also Played at the 'Beacon' Pub, Allaway Avenue, Paulsgrove 7th May 1965 Not in the Bar!!! In the Hall next to it. Another gig remember well, was at Fareham Youth Club, also in 1965. The photos (if I ever find them) were taken at Cosham Police Club. We played at some other locations, till about February 1966, but I can't remember when or where they were!
Barry Jakeman and I left in March 1966. I wasn't replaced...Phill Chipps took over lead vocals. Can't remember who took over on Drums. They went on to play a regular spot a the 'Golden Fleece' Pub, Commercial Road, Portsmouth, for another year or so.
'Alice' were a Portsmouth based band of the 1970's
Alan Deadman

CHRIS HUGHES TIMELINE

1967 – THE BROTHERS BLUE
Chris Hughes (drums & or bass) – Roger Hughes (drums and or bass) – Geoff (guitar vocals) – Brian ?? (guitar) My first band where I played drums or bass at the Pomme D’or, Southsea with my brother Roger.

1967 – AUNTY MAGGIES REMEDY - ROSEMARY GREEN - CINNAMON SET - SHRINE - DOG JAW
Chris Hughes (drums)- Adrian Brown (guitar) – Charlie Old (guitar) – Steve Poingdestre (bass) – Graham Maddison (vocals) - Chris Pearce (effects). Steve left to get married and was replaced by Richard Geehan around ???? At one point Larry Tolfree came in and we practiced but never gigged as a double drummer band. We did home recordings and not many gigs. Inexperience and a lack of leadership were the barriers that we simply didn’t overcome. Charlie left to join a working band around 1973 and it simply folded though lack of interest.

1974? - Gosport roundhouse, Jammed with Jacky’s boyfriend Steve, a great guitarist who later died. (suicide?).

1974? – Portsmouth Rehearsed in a double drum band with a black chap who kept his spare sticks in his back pocket!

1974 - HAYLING BAND (Aubrey small?)
Chris Hughes (drums) – Steve Poingdestre (bass) - Andy Scarisbrick (guitar) - Brian Kemp (keyboards) – Brian May (saxophone) This band never really took off although we rehearsed for a month or so in the summer of 1974, only pictures remain.

1975 - PINK GIN – RAGSTONE - SLEEPER
I replaced John Maleedy on drums, – Mick Knight (guitar) - Dave Saunders (bass) - Dave Graver (keyboards) - Mark Foggo (vocals) Dave Graver was the first to leave, Mark was the next, the many replacements were:- John Rumble (vocals), Terry Holland (guitar), Ron Hughes (guitar),Chris Hughes(guitar!), Dave Javvins (drums), Mick Javvins (saxophone), Steve Cole & Jim Zimmerman (guitars), Ken Hughes (drums), only Dave Saunders remained throughout.
We were pretty good initially and there were recordings and mini tours but no big breaks. We played many gigs and were even compared with Joe Jackson/Mark Andrews band Edward bear. After continual leavings and replacements resulting in many different versions it eventually fell over. Sleeper was the last version consisting of Charlie Keenan vocals and guitar, Ron Hughes guitar and vocals, Dave Saunders Bass and vocals, Ken Hughes drums and vocals.

1976 - WILD AFFAIR
Chris Hughes (drums) – Charlie Keenan (guitar/vocals) – Mick Knight (guitar) – Mick? (bass) Part time band that ran in parallel with Ragstone for a while with a regular gig at the “White Horse” in Rogate.

1977 - CLEAVER
Chris Hughes (drums) - Mick Green (bass) - Mark Foggo (vocals/guitar) An attempt at going “big time” as a punk band that I jacked in as I didn’t get on with Mick the bassist.

1982 - EQUALISERS
Chris Hughes (drums) - Shaun Meagre (bass) – Colin Ray (guitar) – Steve Whitehead – (vocals) Steve and Colin were very good song writers and worked well together making a good sound and we did a few fairly well received gigs but when the opportunity of a regular working band came up with RAC, I left.

1983 - RAC - TREBLE CHANCE
Chris Hughes (drums) replacing Dave Houghton! – Tony Gilson (bass) – Mark Andrews (guitar/vocals) Changed to Treble Chance (Chancers) and eventually merged with Dave Gilson and Nick Hug to form DBH&THA.

1984 - DEAF BOY HUG AND THE HEARING AIDS
Chris Hughes (drums) – Tony Gilson (bass) – Dave Gilson (guitar) – Mark Andrews (guitar & vocals) – Nick Hug (Keyboards, Harmonica & main vocals) Depping by Robbie Richardson (saxophone), Alan Robertson (guitar and or bass) & John Wigan (bass). Tony left to join ?? and was replaced with Alan Robertson & or John Wigan . Tony rejoined at some point. Mark formed a splinter group with myself & Tony as XL5 around 1995. Nick and Dave reformed with Robbie, Ray Luckin, & John Wigan as “Something for the weekend”

1995 - XL5
Chris Hughes (drums) – Tony Gilson (bass) – Mark Andrews (guitar/vocals) – Pete Marsh (keyboards) – Rob Fowler (guitar) Mark fell out with Rob and he left, Pete Marsh got married and left, the band did carry on as a trio for a while but Mark eventually left to join a band called “Signature”.

1997 - JUDDICA
Chris Hughes (drums) – Bret Hutchinson (guitar) – Paul Simpson (vocals) – Bret ?? (2nd guitar) A few gigs but it didn’t last, especially when Nick asked myself and Tony Gilson to rejoin him in SFTW.

1998 - SOMETHING FOR THE WEEKEND
Me to replace Ray Luckin (drums) – Nick Hug (vocals/keyboards/harmonica) – Dave Gilson (guitar) – Tony Gilson to replace John Wigan (bass) – Robby Richardson (saxophone/keyboards) A very successful band that lasted and progressed until Nick sadly died in 2006.

2004 - HSBB (HUG & SULLIVAN BLUES BAND)
Chris Hughes (drums) – Nick Hug (vocals/keyboards/harmonica) – Tony Sullivan (bass) – Can’t remember guitarist Couple of gigs to break away from SFTW as a more serious blues band, didn’t last.

2006 - ANGIE HAYNES BLUES BAND
Chris Hughes (drums) – Steve Browning (bass) – Steve Lawrence (guitar) – Angie Haynes (vocals) Depping by Dave Rapheal (harmonica) – Matt ?? (harmonica) - Buster ?? (guitar) Ran in parallel with “Hat trick” for a while until Steve B, had a disagreement with Steve L. He left and I played out the remaining gigs to eventually leave after a replacement was found. Occasional gigs to fill in with Tony Gilson on bass.

2006 - HAT TRICK
Chris Hughes (drums) – Ron Hughes (guitar/vocals) – Nigel Baker (bass) – Helene ??? (vocals) Chris Hughes replaced Ken Hughes(no relation) when he decided to retire with back problems. Helene left after a year or so and the group still plays today as a trio.

2006 – CAHOOT
Chris Hughes (drums) - Martin Scott (guitar) and others. One off church gig in December 2006.

DAVE MARSH

1975/6 "LABYRINTH!!"
Dave Marsh drums, Steve Hampton (yes the real one!), Terry Allen guitars, Les Ayling bass.

1983/84 "BURLESQUE"
John Barker guitar, Clive Trimby vox, Dave marsh drums, Phil Roberts (affectionally known as long ugly!!) bass, Heather Trimby and dawn backing vox.

1984/85 "UNION STREET"
Clive Trimby vox, Dave Marsh drums, Heather Trimby backing vox, Dawn Trimby backing vox, Phil Roberts (affectionally known as long ugly!!) bass, Ray Cross guitar, Ray left and was replaced with Trevor Pape, Steve Williams guitar.

jazz prog band "AUTUMN"
Mark Easton guitar, Jeremy Tranter bass, Dave Marsh drums and percussion, William (BILL) Swadling keyboards...may have been others too.

"DESPERATE BICYCLES" with doug keating drums?

"THE GROWN UPS"
Derek Joyce bass, Dave Marsh drums, keith Whymark vox Richie Eason guitar John (Boy Wally) Walton guitar.

"THE SPORTING LIFE" and consisted of Rob Atwood vox/guitar, John Barker vox/lead guitar, Derek Joyce bass/vox, Dave Marsh drums.

"SPITTIN IMAGE" Dave Marsh drums, John Barker guitar,Derek Joyce bass, Graham Phillips vox.

"COUP D'ETA" ???

2014 "THE PUNK PIRATES"

pp2

Pat Collins

Pat got together with some school friends who were trying to form a band, no one wanted to play bass so Pat asked Mum for a Bass Guitar for his birthday. He received a Hofner Senator Bass that year,
band members were:
Patrick O'sulivan Drums Dusty Miller Vocals John Kenevey Guitar Pat Collins Bass

Pat didn't have any clue how to tune his guitar and continually tried to tune the guitar with a torque wrench, the strings were wound so tight that they broken after a few weeks, he was always calling into the "Sound of Music" in Havant to buy new strings until the shop owner finally gave him some tuning tips after realizing that the poor boy was counting how many turns it took to unwind the string and then winding the new string with the same number of turns . Pat used a 5 watt Solavox value amp purchased with a provident cheque but later Mum bought him a True Voice Selma bass amp with crocodile skin.
Pat's first serious band was know as "Him & Only Us"
Dad manage to secure their first gig at the Bedhampton Railway party. Their performance of Screaming Lord Such song, Jack the Ripper was a constant topic at the Collins dinner table for years after that gig as Dad delighted in his rendition of the song.
The line up was:
Bill fletcher guitar John miles (salvation army bass drum, snare and cymbal) Pat Collins bass

1.5 years later when Pat was just 15 years old, he was introduced to Roger Renalds by his friend Barry Sutton and decided to join his band. Roger was 27 years old which meant he had gain quite some experience and Pat managed to learn a lot in a very short space of time. He wanted to buy a beige coloured 70 watt Fender Bassman amp but Dad wouldn't sign on the dotted line, he didn't like anyone getting into debt. Roger came to the rescue and Pat bought the amp for princely sum of £120.00 and paid him back at £5 per week from the proceeds of his paper round. The band was known as Mood Five and
the line up was:
Peter Roadnight Drums Ken Cornish Vocals Pat Collins Bass Roger Renalds Guitar Dave Atkins Rhythym

The entered a few beat contests and played gigs at the Grey Hound and the Rover in Leigh Park as well as some weddings and parties.
Next Band was Indigo mood with
the line up:
Keith Durramt Drums Ricky Gauntlet Vocals (Bunty went out with him for a while) Brian May Sax/Guitar Derrick Wickham Sax Andy Scarisbrick Guitar

This band played at St Francis church Leigh Park, the Leigh Park community center and a few other gigs.
Birth was then born:
Bill Darling Drums and vocals (Sang like jack bruce) Pat Collins Bass Barry Sutton Vocals/Guitar Paul Smith Roadie who also played the harmonica on "out daemons out" Edgar Broughton Band Manager, Dave Martin who played for the "Tea Pots" and later "Wrong Direction" Colin Simpson joined Birth on Rhythm later from a band called "Time Dynasty", only because he wanted to perform with Bill, he did ask Dave Martin very politely if he could join the band.

Birth did play a support gig at Wem Shropshire with Picksttywitch of No1 "Same Old Feeling" fame. Polly Browne turned up in her brand new Orange VW wearing her high fashion trendy gear and look down her nose at the scruffy boys from Havant. The organist had a Hammond which proved to be very awkward to manage and asked if Pat and the boys would help him up the stairs with it, he promised a beer which they never got.
Pickettywitch asked to go on first since they were double booked and had another gig at Oswestry shropshire the same night. So it was so that Pickettywitch support Birth that night and Pat was finally famous. The Bassist had a rare 6 string SG shaped Gibson Bass that Colin managed to kick over while setting up.
Ultimately Barry Sutton left the band and then Birth broke up.
Pat's next band was called Country Jam with line up:
Brian Kemp Keys (replaced by Graham Mckewan later) Pat Collins Bass Bill Darling Drums Barry Sutton Vocals/Guitar

This band only played a few gigs such as Barncroft school TA center in Havant.
Martingale was then formed with line up:
Colin Simpson Guitar Pat Collins Bass/flute John Lyons Drums/Vibraphone (from "Village Magician") Dave Upton Vocals

The band didn't really perform any major gigs.
Pat Collins then joined Ray King from Heaven playing sax Derrick Summerville sax/flute Nigel Sydell from coconut mushrooms on keys and Dave Barfoot on Drums who later went on to be a session musician, Colin Simpson on Guitar. The band never really performed any gigs.
Ray King who knew the band Spook arranged for Pat Collins to stand in on bass a few times when their bassist went on holiday.
Later Ray King decided to form an Electric Folk band which featured:
Ray King on clarinet/(sax/flut/obo Pat Collins Bass Wilber West Guitar Pete Bug Guitar/Mandolin Colin Simpson Guitar

This band become know as "Moon Mist" and Pat Collins traded in his Gibson EB2 for £80 and purchase a Fender Precision for £140.00 to achieve the right sound. They did a Sunday night residency at the Center Hotel on the corner of Pembroke road Southsea for two years during which time they met many famous artists including Jasper Carrot, Ralph Mctell and Billy Connolly.

andrew gent

Andrew Gent

1980-81, Bass with Savage Amusement.

1988 not a lot really.

1987/89 Double Bass, Ten To Mental, Psychobilly group, which then got a new singer and eventually turned into

1989ish to 1995-6. The Elevators.

1993 to 1995 Spectre and Highway Five along with a band I can't recall the name of with Bob Watson and a lovely guy called Richard ????.

1997/98 to present, Lifestyle (mainly based from Gosport area)The Marauders

2008/9 to 2013 The Five Beats with Steve Gould

2013 to present, Blue Jean Bop.

2013- present, The Symbolics. Now still looking for that certain "thing" though. And many I can't recall the names of, varuious Jazz & Rockabilly bands.

2014, Mr Messy.

Graham Parker

My loved Trixon Luxus Drum Kit, which of course I still have, along with my Ludwig Classic. I bought this kit in Minns, Osborne Rd

The Conchords were originally formed by Doug Chalmers and I when both at the Northern Grammar, we used to practise in my parents front room at the back of their fruit and veg shop in Copnor Rd and then above "The Sportsman's Rest" nr. Copnor Bridge.
The original line up
Graham Parker on Drums
Doug Chalmers on Bass,
John Davis on Rhythm
Colin ? on Lead Guitar.
At first we only played instrumentals, so it was The Shadows, Ventures and Duane Eddy all the way
The Conchords first ever gig was at the St Nicholas Church youth club, in Battenburg Avenue.

Then the line-up changed to
Ron Binfield vocals from Portchester
Stuart Ward replaced this Colin on Lead
John Davis got proficient on his Sax
Graham Parker on Drums
In 'The Conchords' we used to get paid an extra £4 by George Turner, if we would play the "Under 14 Junior Rock and Twist " sessions on a Saturday morning at the Savoy !

I joined the 'St Louis Checks',
'Soul Society' and finally
'Amalgamation'

Re. the 70's Groups
"Amalgamation"
Barry Gladding on vocals,
Dave Gladding on on bass,
the late Pete Connor on Rhythm,
Graham Parker on Drums
Bernie ? on Lead.
We used to absolutely pack Waterlooville Football Club out regularly on a Saturday night !

hot-rods-21.jpg

George East

The only bands I really knew when I started the Rockin' Hot Rods was Mick Glover and Digger Hart's band and Mark Tuddenham's Renegades and Chris Ryder and the Southern Sounds. I either taught people to play the guitar, got them into music or recruited at least 20 people in the early Sixties. MIke Beacon lived round the corner from our shop in Frensham Road when we were about eleven and he would sing along to my home made guitar. He used to sing in the choir at Milton and always had a wonderful voice. Nice bloke too. It was a great time to be into music in the Sixties in Portsmouth.

Mike Hampton

I was in Kansas Kountry from Dec 1971-Jan 75. We played our first gig together at Netley Central Club in Dec ‘71. The line up was Trevor Fry, Charlie and Alan Dawson, Jonathan Kirton guitars, Monty Hibberd drums, and Mike Hampton vocals. We played several places during my time with them including The Joiners Arms, Acorn Cub, Fair Oak, The Ponderosa, The Swallow and The High Post Hotel, Amesbury amongst others.There were a few line up changes.
Others joined and left including Mandy Field, John Lines, Richard Croft, Bob Bennett. Other people who played with us were Kevin O’Rourke and a drummer called Alan, sorry can’t remember his surname.
After several differences of opinion, I left in Jan ‘75. I did do one more gig with them in 1976 at a barn dance near Droxford. After that I finished singing on stage. I still do karaoke now and then.

County Line

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Russ followed Alan Partridge, who then followed Russ again for a second stint.
County Line drummers were in order of appearance:
Tim Sullivan 84 -86
Van Norris 86 - 88
Alan Partridge 88 - 90
Russ Mahoney 90
Alan Partridge 90 - 2003
There were/have been a few brief get together a since then, but since Al sadly passed away, Van came back to play. County Line remains a band, but doesn't work due to other commitments.

Mark Sheridan, Karl Rudziak, Andy Lea, Russ Mahoney and Gary O'Donnell Photo taken about 1990 in the RIP Club above Martha's

County Line formed in 1983/4. The original line up was: John Damp - vox, Andy Nixon - Bass, Mark Sheridan - Gtr, Karl Rudziak - Gtr, Tim Sullivan - Drums.
This line up never gigged and spent most of their Sunday evenings locked in Raspberry Rehearsal Studios in Goldsmith Avenue (now Acadia).
In early 85 Andy Nixon left and was replaced by Andrew James (AJ) Lea. In May 85 John Damp left and Gary O'Donnell came in. We played our first gig at The Salutation on Thursday 5th September 1985.
The band was completely different from the outset, playing a form of Southern style rock, based around bands that had had a modicum of success in the UK, but by no means really household names; 38 Special, Molly Hatchet and Foghat were some of the more unusual names, alongside some Lynyrd Skynyrd covers and our own material.
Nothing much happened in the first year, apart from trying to find a stage identity. Tim was replaced around about 86 and we got Van Norris in and that's when the fireworks lit up. I think the energy and chemistry of the band was almost instantaneous and that welded itself to the camaraderie that again became completely natural. Couple all that together and the stage impact was quite explosive. I think people would come to see us more, because it looked as though we were about to implode at any second and yet there was this brotherhood of "wanting to play the right thing, in the right way".
It appealed to working people around that time who were glad of getting rid of some pent up work or life frustration through our shows; a bit of dancing, a few beers. Always one of the most loved and yet musically despised bands at the same time. I've never been in another band like it and I don't suppose I ever will again. We cared, but we didn't care and that just got up other bands noses who were put together to achieve "a deal!"
The amount of time one of us (even now) has been to a party and County Line has come up, there have been other players there, from that time, spitting feathers at the fact we'd won some Battle of the Bands competition or whatever. 87 to 90, were the most rewarding; adored by the biking community we played massive open air shows to 30,000 people, did The Marquee a few times, almost got a publishing deal and we've sat in the board room of Moving Pictures to talk about video concepts. We did it all, but didn't do anything. In the end, the 5 frontmen in a band formula exploded and we did implode because of it. We were a stunning, shambolic live band, but it reached into people souls, especially blokes, for some reason.
I remember playing The Fleece in Bristol, which has a cobble stone floor. When we'd finished and the crowd had cleared there was just a sea of smashed glass on the floor, with one regular Fleece goer looking in disbelief; "I've been coming in here for ages and I've never seen anything like this!", he said.
The next time we returned to Bristol, there were Fleece ad boards along the main roads that just said, "They're Back!"

Dragonfly

From John Upton
“I was the drummer in the band Dragonfly, which gets several mentions on your 1969 page (see the Pompey Pop website). As you report, we were a group of 4 or 5 14-16 year olds, still at school at that time. My brother Dave was the lead singer. He now lives out in Tenerife. I am not very good with names so I don’t really remember the other guys in the band, except our guitarist was Mark Lundquist. I lost touch with him, but more than ten years ago, I went to see a Joe Meek tribute evening at the King’s Theatre in Southsea, featuring Billy Davis, The Honeycombs, The Tornados (featuring Clem Clattini), and Mark was up there on stage playing his guitar as a member of Cliff Bennett’s Rebel Rousers! I was gob-smacked.
Our dad, Dennis Upton, acted as our Manager and Roadie. Being still at school, none of us were old enough to drive, so he had a dormobile to take us to gigs. He did very well booking us into gigs across the area; we played the universities along the coast, Brighton and Bournemouth as well as the Portsmouth Polytechnic. It was interesting that we on stage were younger than the students to whom we were playing. I seem to recall (unless it’s my mind playing tricks on me) that we were once booked as support band for Caravan at Kimbells. They had no idea who we were, but I think we did OK as an opener for the evening.
Dad of course was the one who spoke by telephone to Spinner on the Portsmouth Evening News, feeding him all the information about the band, which is why we got mentioned so frequently. He was never a musician but he loved what we were doing and being part of the scene at that time. He passed away last Christmas at the age of 80 and it would be good if you could mention him on your page of people who were part of that scene and who are no longer with us.
For more band members names, my brother Dave might be able to help. I sent him a link to a couple of your pages earlier this evening so he should know what you are referring to if you should contact him. I regret that I don’t have any publicity shots of the band that I can share.
Finally, you might be interested to know that I am still in a band which was formed at the end of the ’80s and took the name of Dragonfly, so the banner is still flying in the Portsmouth area (actually I believe there are 2 bands using that name, but I would claim the rights due to my membership of the original 60s band of that name). We play covers of 60s, 70s and 80s material and mainly play for charity fundraising events. We played in Fareham Town Centre earlier this month as part of Fareham’s Music Month programme.

dfly

Before Heaven by John Gordon

Barry Paul and I, both from Chichester, first played together in The Machine, a soul and pop band. I had been playing rhythm and then lead in various bands, before being asked to join The Machine on bass in 1967 (I think). The band split in 1968, and Barry joined Coconut Mushroom. I think The Machine used to get some work through MMF - we used to go and see Blackout, Mushroom and other Portsmouth bands - so I think that's how Barry got the approach. When Mushroom's bass player broke his leg, I stood in for a while.
Soon after that, Barry left Mushroom and we started Paper, recruiting Kenny Durow, who had played with Steamhammer, on drums. We worked through MMF and were managed by Ann Luckett. We played a mixture of the standard three-piece stuff - 'Crossroads', 'Born To Be Wild' - and some off the wall re-arrangements, like Leonard Cohen's 'Suzanne'. In 1969, we were the first MMF band to do the cruise to the USA and back - a story in itself - but, on our return, it was all a bit of an anti-climax.
It was either in 1969 or early 1970 that the agency suggested that we add a singer - Terry Scott. We had seen him with a Southamton band, the name of which I can't remember, and had been impressed. He joined, and we got on well, but it was only a short time afterwards that we were approached to join a re-jigged Heaven.
You probably remember what it was like then. There were loads of bands in Commer vans, navigating the south coast clubs, youth clubs, schools and bowling alleys, all playing the same material and very few having any originality. That's what made the first Heaven stand out; they wrote their own songs and people liked them. Looking back, it's easy to see that a local agency and management and gigs in youth clubs were not a fast track to stardom, but we were all not long out of school and some had day jobs. To be gigging at all seemed a privilege, and, at that age, it took a while on the circuit before you started to wonder if it was all ever going to go anywhere. At first, Barry and I talked about our ambitions, but by the time the Heaven opportunity arrived, we weren't talking about the future much, and it was probably on the cards that one of us - probably Barry - would soon get a another gig through the Melody Maker 'Musicians Wanted' adverts.
You may know more about it, but I have some vague recollection that Heaven had had some dialogue with Rikki Farr, but that he wouldn't get involved while Ricky Martin and MMF were managing. Certainly, despite the two of them signing an agreement, it didn't take long for Rikki to get rid of Ricky - as Ricky predicted. I suppose Ricky Martin knew that he couldn't stop us talking to or signing with Rikki, but he took it all with good grace - he was a nice guy.
I heard that Dave Margereson left CBS under a cloud and signed quickly to A&M.

Trouble In Heaven

This is the story of the second incarnation of the band Heaven, or ‘Heaven 2’. I have to make some things clear; all this is from my perspective, and others might view events differently, or even have a different recollection – it was forty-odd years ago; this is not an exercise in blame, at least, not as far as others are concerned – I’m aware that I could have been less cowardly at times; a lot of the opinions I voice here, I kept to myself at the time, and that was probably because I was thinking of my position; there were no arguments or recriminations, and people behaved with dignity, even when the way they had been treated might have justified a bit of shouting; finally, it’s a bit like having car trouble – you focus on the faulty parts and not the parts that work fine. There were a lot of good times, and I wouldn’t have missed it for the world.
Along with Barry Paul, Terry Scott and Ken Durow, I was in a band called Paper, working through Ann Luckett at M.M.F. agency, where Ricky Martin managed Heaven. Barry and I lived in Chichester, Terry lived in Southampton, and Kenny lived in Havant. We were like thousands of other little bands; gigging around Hampshire and Sussex and hoping to get the chance to play ‘Born To Be Wild’ live on Radio 1 Club. Heaven were the top dogs, and with good reason. They wrote their own songs, played them well, and had their sound sorted, always balanced and listenable, and they were nice guys – self effacing and, it appeared, united in their musical goals. On top of that, they were recording an album.
So it came as a bit of a surprise when the agency told us that Ray King, Dave Gautrey and Nobby Clarke were going to split from the band, and were interested in forming a new Heaven with Barry, Terry and me. They felt they were under utilised in the current set up, and wanted to stretch out more, and they had the support of Ricky Martin. I wondered why the management were going with Ray, Dave and Nobby, and why the name ‘Heaven’ was migrating with them rather than staying with the songwriters – Brian and Andy, but the trend then was to prioritise virtuoso musicianship over song writing, despite the charts being filled with great pop songs.
We had a meeting in a pub in Chichester, and the deal was done, with little thought for those who would lose out; Kenny, Paper’s drummer; Annie, Paper’s manager; Barry Edney, Paper’s roadie (none of us could drive) and the other members of Heaven. We got together for a play in the cellar below Barry Paul’s parents’ shoe repair shop, and we were off.
We had a band, but we didn’t have any songs. Ray introduced us to Frank Zappa’s ‘Hot Rats’, and we jammed on ‘Willie The Pimp’, which became a standard for us, and we knocked some riffs and lyrics into songs, but song writing was the weak spot. Our first gig was at a charity show in Portsmouth, something to do with the Lord Mayor. I can only remember that we were under rehearsed, that the material felt thin, and that I was overplaying like mad to try and compensate – it doesn’t work now, and it didn’t then. I came away worried about where new songs would come from, but it was soon resolved. I got to Barry’s cellar early, for a rehearsal, and he told me that he didn’t like the band and that he was quitting.
It wasn’t a long discussion. I could see his point – I had similar misgivings. But he was the local hero guitarist, and a damn fine one, and there was no doubt that he would progress in the business, whatever the route. I didn’t have that confidence in my own abilities, so I was sticking with whatever prospects Heaven might offer. I wanted to get out of Chichester. I wanted to go to London and play in a band.
It’s hard now to convey what ‘London’ meant in the music world then. London had venues and record companies and studios and publishers and big-time agents. London was where A & R people could see you and sign you up – they weren’t going to travel to Southsea or Dorchester. London was the hub of the music business, in a way that is difficult to comprehend in the era of internet, mobile phones, social media, Youtube and, believe it or not, better road links.
Terry got in touch with Eddie Harnett, who had worked with the Mojos and other Southampton bands, and he joined the same day that Barry left, bringing with him the song writing that the band had so far lacked.
Then it was out on the road, gigging round the country in our truck, a diesel with separate cab and body. We took it in turns - except for Dave Gautrey, who drove – riding either in the relative comfort of the cab, or in the back with the gear. Admittedly, the gear was behind a bulkhead, and we had rows of aircraft seats, but the only windows were forward facing and so high up that the only way you could see out was by balancing on one leg on the worse than useless heater and craning your neck to get a view of where you were going. We froze in winter and roasted in summer. The engine was governed to 45 mph and a gig in Penzance meant leaving Portsmouth before daybreak and getting to the venue with just time to set up.
Terry Scott would always be described as ‘gravel voiced’, and I marvel that I can’t remember him having a sore throat, or worse, considering the abuse heaped on his larynx. He was a consummate ‘front man’; when he sang, you watched and listened.
Ray King was a self taught reeds player – all sorts of saxophones, clarinet, oboe, bassoon, flute – and his tenor solos had a unique quality that hinted at jazz, blues, folk and shades of the original Heaven.
Dave Gautrey played trumpet and flugelhorn, drove the truck and looked after the PA. He didn’t waste words but, as you can imagine with someone who habitually wore Scholl sandals and socks, he was his own man, and when did speak, we listened. Eddie Harnett – trim, big moustache, always smiling – played guitar, sang a high harmony (and some lead) and wrote a fair few songs, always melodic, and usually demo-ed on his reel to reel tape recorder. He had been reunited with his father soon after joining the band, and moved into his dad’s house in Southampton. We were gigging at a London club when the police arrived to break the tragic news that Eddie’s dad had died in a tragic accident at work. Later, we spent many days and nights jamming, rehearsing and writing at what was now Eddie’s house.
(Malcolm) Nobby Glover was not your average band drummer. His kit had more of a jazz tuning, and his technique was jazz chops with rock power. He was quick on the uptake and musical, and I can still picture the way his eyes locked onto the ride cymbal as he played a neat swing groove.
After signing the record contract and before starting the album, Derek Somerville joined us, on tenor, to fill out the horn section. Derek was younger than the rest of us, and quite shy, for which he got mercilessly ragged. His arrival was significant; we had not started out as a Blood, Sweat and Tears / Chicago – type band. As mentioned, Zappa’s ‘Hot Rats’ was a big influence, and if we thought about it at all, we would probably have put ourselves in the same category as Jon Hiseman’s Coliseum, rather than the brass rock bands. Now, we had a horn section, and Rikki Farr’s influence was taking hold, of which, more later.
All of them were good natured, funny, upbeat, and good companions on the road. We experimented with instrumentation – at one time, I was playing flute, fiddle and bass, though not all at the same time - and, at that stage, the wind instruments sounded integral to the songs – rather like the original Heaven. Dave was expert at running the WEM PA, and we gradually got played in and comfortable with each other. But there was a problem. London calling was calling.
Ricky Martin and the agency were doing their best for us, but the country was filled to overflowing with bands trying to ‘make it’, and if we were going to ‘make it’ we would need a finger on the scales. Eventually, Ray suggested that we contact Rikki Farr and ask him to help us. We met him at his boutique – I think it was in the Tricorn – and he readily agreed to get involved, phoning Dave Margereson at CBS records as we sat there. A cynic might conclude that, since his boutique was about to go out of business, there was a certain attraction in taking on a band and procuring some record company funding, but, to be fair, he had the contacts and the chutzpah, and that’s why we approached him. Soon after, we took a ferry to the Isle of Wight, to the house where Rikki and the Foulkes were organising the 1970 festival, and there we signed with Rikki Farr. There’s a photo on the web, taken outside the house, and you might be forgiven for thinking that we were at a wake. Ricky Martin was with us, and, on the ferry back, he told us that it would only be a matter of time before he was out on his ear. We protested that we wouldn’t let that happen, but it did. Another friend overboard.
Rikki Farr put us on the festival, on the Sunday afternoon, in the midst of the cream of British bands – Tull, Ten Years After, The Moody Blues, Free – all match fit and at their peak from touring the USA. Hendrix was top of the bill. We had a police escort from the ferry, and, after playing, we stayed until halfway through Hendrix’s set, then dashed for the ferry. A week later, we were in Paris for a short residency at a club, then back to a record contract with CBS records. I seem to recall that they advanced £36,000. Rikki moved into a plush town house in Mayfair with two staff, and we moved into a very different town house in Putney, with dormitory like sleeping arrangements and two Scouse labourers living in the garage.
The record company advance was haemorrhaging cash; the band were on £25 a week each; rent was being paid on houses in Mayfair and Putney. We had new instruments and amplifiers – trading in our old ones, not necessarily a good thing – and then Rikki saw and heard a Kelsey and Morris PA. We got a complete custom built rig, and then, it seemed, modified, added to or changed it every few weeks, all at a cost. The old truck had to go, and we bought a brand new Mercedes hi-top van, complete with aircraft seats and 8-track. We weren’t gigging much – we had started recording – so there wasn’t much money coming in, but we didn’t care; we had no desire to look at the books. We would make a million-selling album and have more money than we could spend in a lifetime.
We recorded the album at CBS studios in New Bond Street. It was big and a bit lacking in atmosphere, and we were relative novices. Rikki was producing, but he didn’t have the ears or the musical knowhow to get the best from us, or suggest how as song might have a better structure, or recognise when something just wasn’t good enough. By this time, he had decided that we would be another Chicago (CTA), so the horns were augmented in the studio by trombone and another trumpet. Whereas, in both the original Heaven and, thus far, in Heaven 2, the wind instruments had been integral, they now became a superstructure, bolted on to the songs and a bit unwieldy, a bit top heavy. We all did our best – Nobby was outstanding – but our best needed to be better, and it could have been – with the right producer.
Rikki’s forte was overkill. More guitars, more horns, a string quartet, a double album with the mother of all gate covers, too many liner notes. He was likeable, charming, convincing, a big character, and he probably thought the band and the album were going to ‘make it’, but, leaving aside the quality of the music, there was no plan, no strategy. We didn’t release any singles, yet both Chicago and BST had got to the wider record buying public through singles. Consequently, we weren’t on the radio and, apart from one Disco 2 appearance, we weren’t seen on television. We didn’t get support spots on tours or major gigs, and we didn’t even play the sort of gigs that we had played when we were based down south. Not that we cared; it would all work out.
One day, soon after we had completed the album, Rikki dropped a bombshell. Ray, Dave and Derek (who joined before we started recording) would have to go. They didn’t have the rock n’ roll image and they didn’t sound like Chicago. Dave was going to stay on as sound engineer. I remember sitting in the dressing room at a gig, telling them that it was all Rikki’s doing, not mine, and that I had no choice but to go along with it. We’d asked Rikki to manage, and we got what we asked for. I had got to London, and I was going to stay there. Two more friends tossed overboard.
To replace Ray, Dave and Derek, Rikki recruited Norman Leppard on sax and flute, Martin Drover on trumpet, and John Bennett on trombone. They were all experienced and superb players, but they were from a different background. They didn’t live with us, or travel with us, or listen to the same music as us. They were great fun on the road, and they were guys we could learn from, but it now seemed like there was Terry, Eddie, Nobby and me, plus Dave (although he was starting to seem more a part of the management than the band, which was fair enough) and horn section who were there on a paid-to-play basis. I imagine they were getting more than £25 a week.
We had some great times in Germany, mostly Munich and Frankfurt in summer, once playing in the main square in Frankfurt in the late afternoon, with all the traffic and shoppers, and people hanging out of office windows. We had to start after the clock chimed for four o’clock and finish before it chimed for five. By this time, the band was getting slick, confident and professional.
With an album that was still-born, I started to wonder – where to next? Even I had begun to realise that we didn’t have what would now be called ‘a viable business model’. We weren’t writing new material, and, although it hadn’t been mentioned, we would have to get more songs recorded and released if we were to stay in the game. I got back to the house in Putney, after a weekend in Chichester, to find Terry in pensive mood. He thought Eddie was our problem; his guitar playing wasn’t up to scratch and his songs were too ‘poppy’. I agreed – the prospect of change, any change, felt like progress, even if it wasn’t – and so we sacked Eddie, who had written more songs than the rest of us. Another friend overboard.
We asked Barry Paul to rejoin, and he jumped at the chance. His opinion of the band and the music hadn’t changed, but he freely admitted that he would do anything to get away from Chichester. He wanted to get to London.
A few rehearsals, a bigger and better (and more expensive) PA, and we were off to Germany again. The band was pretty good – tight and professional, and sounding more like Rikki’s idea of a British Chicago. But we still weren’t writing, and it was now obvious to us that we had stalled. There wasn’t much chance of CBS throwing good money after bad, certainly not without some evidence that we could come up with new songs that they could sell, and Rikki’s ‘business model’ wasn’t self financing; it required a record company to finance his and our lifestyles.
Another trip to Germany, and this time with Nobby working out his notice period – we (me, Barry and Terry) had fired him before the tour, but asked him to do the German gigs, as we had failed to find a replacement. I can’t even remember what we were thinking when we wanted to sack him. Probably, he was the latest sacrifice that would persuade the Gods of Stardom to smile on us. By the end of the tour, in Hamburg, we were asking him to stay, but I don’t remember apologising to him.
I’m a bit hazy about how I left. I remember that I had been jamming with Gary Farr whilst staying at the Mayfair house. We would sit and just play his songs, and listen to the Grateful Dead’s ‘Working Man’s Dead’. I had started to get a liking and a feel for music where the bass would lay back and let the song tell the story, instead of grinding out gymnastic riffs. Gary wanted to form a band, and he offered me the bass chair. I worked out my notice with Heaven – in Germany – and that was that. Mick Feat, from Portsmouth and Coconut Mushroom with Barry Paul, took over. It didn’t last long after that, with the trumpet and trombone leaving, and the band trying to find a direction. That was the end of Heaven 2, and the start of a few more versions, all with Terry, and all with better songs than we had, but not brass rock, and a long way from the floating melodies of the original Heaven, or even ‘Willie The Pimp’ in a cellar in East Street, Chichester.
I gigged with Gary for a while – including the inevitable Germany – in a band with Denny Barnes, a great guitarist from Portsmouth, who went on to play with Sam Apple Pie and then emigrated to Australia. Reg Isadore was on drums, and he went on to play with Robin Trower among many others. Mike Deacon, from Vinegar Joe and The Greatest Show On Earth, and, afterwards, Suzi Quatro, Darts, Roy Wood, Ginger Baker and countless others, was on keys. It never really jelled, although I learned a lot and – hey – I was still in London. After that, I joined Supertramp for a year, and didn’t play one note in anger. They wanted to write and record a new album, and didn’t want me to learn the old material. Actually, I think the real reason was that Roger enjoyed playing bass more than guitar, so they gigged with him on bass and without guitar. We tried to record some of the songs that would later make ‘Crime Of The Century’ a massive hit, but it didn’t work. I wasn’t the only thing wrong with it, but I struggled with the songs, and the results were nothing like the hit versions. After a year, Roger told me that it wasn’t working, which was a polite way of firing me, and I headed back to Chichester for a year, to regroup and improve my bass playing. As a footnote, the following summer I was on holiday from my factory job, and I took a day trip to London to see some people. I saw Terry, and then I saw Dave Margereson at CBS records – the guy who had signed Heaven. After relating to him the story of my year with Supertramp, I finished off by saying that, although I couldn’t see a future for them with the current line up, if ever he had the chance to sign Rick and Roger, he should do so, because they were exceptional songwriters. He later moved to A & M, where he signed Supertramp (Rick and Roger plus musicians who played the songs the way the writers heard them) and later became their manager. It’s a funny old world.
I visited the house in Mayfair, to find that Rikki Farr was running a PA hire company, using the equipment paid for from Heaven’s record advance. I joined Heaven with a bass and an amplifier; I left with just a bass. Dave was still with him, and they eventually moved to the USA, where I believe they have been successful.
After a year working in a factory, I joined a band in – that’s right – London. I played with various bands and artists until 1980, when I quit playing professionally. I retired in 2009, and now I’m a ‘pro muso’ again, working regularly, with a bit of recording and some trips abroad.
The obvious question is; what lessons did I learn from Heaven 2? To be honest, I’m not sure. What would I do differently? I’d like to say that I wouldn’t dump friends to get what I wanted, but I’m not sure that it would be true – certainly not for the twenty-two year old me. I would probably say that musicians should get to know about business, but it wasn’t like that then, and we were only like all the other bands who thought that success was a low hanging fruit and who couldn’t see the essential differences between what they were doing and what the those who had ‘made it’ were doing.
What stands out for me is how nice all involved were - maybe too nice, but it’s hard to see that as a fault now. Even Rikki, although I have been critical, was a lot of fun and, after all, we went to him to get a leg up the greasy pole, and he delivered. We knew him by reputation, so it was up to us to look out for ourselves. He didn’t make us superstars, but he was only one of the factors in our failure.
I wrote this because my son had found some tracks from the album on the web, and, unusually for him, was not totally dismissive of them. I had a listen, and found that I could forgive the musical fumbling of the youthful me, and that in turn led me to an fresh and honest look at the whole episode. I can hear now a little of what some people heard then and maybe still hear now, and I’m glad if we made music that moved them.

From Ray King

Not quite as I remember it but mostly right. It’s interesting to see the whole episode from his perspective. Strange, but I was under the impression that John actually wanted to get rid of us (Derek, Dave and myself.) I know that, at my last gig with them I did make the comment that if we all stuck together none of this would be happening. I got the answer back from Eddie “well if I was crap I would expect to be fired as well”!
Oh well, we live and learn. I must confess as not being very proud of myself with the way the first Heaven was ended. In my defence however at the time it seemed to me that Brian was only interested in one thing. I remember that on one gig we just had enough money for fuel to get home (it was not cash on the night). Brian wanted some money to get himself a beer. Dave said we don’t have enough. In the end Brian made such a fuss that Dave scraped up enough for him to go down the pub. Myself I got nothing to eat! Then Brian told me that in future he would do all of the wind arrangements. My input was not needed anymore. Finally, at a gig with the Third Ear Band Brian, Ollie and Andy were really impressed that the Third Ear Band only played for 20 minutes. They made the comment that’s how we should be. I don’t know about you but I wanted to play more not less! I don’t think the Third Ear Band were asked back! I don’t remember where that gig was but I do know that we were asked back on many occasions.

The Katz

Regarding Spike Tony Hawnt and Pete Downton.
We met in the first year at northern grammar school in Mayfield Road. It was 1962 or 1963 I believe. Also in the class was a lad called Alan Feilon and the four of us hit it off. We all had musical inclinations perhaps less so Alan. In any event we decided to form a Group as was the case for many kids in those heady days and Peter's mum and dad kindly agreed to us practising at their house in Cosham. We would rehearse Saturday mornings mainly and I would catch the bus with my drum stuff to Cosham meet Spike off the bus ( he lived in allaway avenue) and walk up the hill to Peters house on chalk ridge road.
It was a magical time which I will never forget as a bunch of 11 year old kids followed their dreams. We decided to call ourselves 'The Katz' and our instruments consisted of a snare drum hi hat and 3 guitars. We were into the who the stones the Beatles small faces kinks etc Some of the songs we learnt I still play today with my 3 piece band. Alan wasnt really a muso as it turned out and he left quite quickly to be replaced by a young mod called Chris Saegert.
We have no photos or recordings from that period 1963 to 1965ish unfortunately. We did a handful of gigs and then Spikes parents moved to Fareham/Gosport area and he changed schools to Prices grammar school at fareham and we gradually lost touch.
There was then a 6 or 7 year gap before me and Pete bumped into each other and 'Kiev' was born around 1971. By this time spike had gone on to play with the 'Monk' , 'Smiling Hard' etc.
Tony Hawnt

Pete Cross at the Tricorn Club

When I did my first night at the Tricorn I insisted they dispensed with the handle to the gramophone! The Club was initially an out-and-out cabaret venue with not a hint of disco- when I was taken on, in late 1967, as a token DJ to please the many regular punters who wanted more up-to-date music to dance to, I was positioned on a stool facing a double turntable in a mounted box affair on wheels- the unit was originally used to put on records enabling the resident trio to have a break or two.
We had 2 x 100 watt speakers perched either side of the stage- no mixing decks, echo units, reverb, speeded up and down turntables, cross fades etc which are taken for granted nowadays. The mic was attached to a foot long goose neck bendy affair. If the dancers got a little excited and jumped up and down in front of me one had to place a half penny on the top of the needle frame to stop the records jumping.
As more and more people requested discotheque (what a lovely old word) music, the trio were phased out (sorry musos – nothing to do with me!) and the Tricorn become a club/dance venue. To boost the sound we hired a 6 channel Sound City Amp from Alan Clarke Sound (still going young Alan doing the PA for Des O`Connor) and suddenly we sounded superb – a separate channel for the mic, one for the turntables and one for a “jingle machine” which was actually just a tape deck Alan rigged up with Radio jingles copied onto it. We had at least 200 watts to blast out- how this must have sounded up against Slade, Uriah Heep, Mud, Alex Harvey Band etc goodness knows but we were all youngish- this is what we had to “play” with and we were more than happy with it – plus who can recall the Beatles small PA battling with the screamers at The Guildhall in `63.
The Tricorn then bought its own Sound City valve amp from The Image (I hope Cmdr. Ford paid them) and apart from Nigel Grundy adding a personalised front box this is how we continued for years.The only problem we sometimes had was when cabaret acts turned up expecting to use the in house PA (still happens today) and the sight of a comic bending over my DJ consul performing his act using my 12” goose neck mic was a joy to behold.Pic attached of aforementioned turntable with my hi tech lighting way before LED`s came into existence.

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