The Artists – 1968

1st January 1968
The Safety Catch

1968 didn’t exactly start with a bang. Another local group making a 2nd appearance in quick succession.

8th January 1968
COLOURED RAISINS

At least with this group, we can provide some information. They were billed as “Britain’s No 1 Coloured Soul Show Live!” and were formed in South London in 1966. Featuring Brian Clarke on vocals, David & Keith Gamport on guitars, Peter Nelson on organ & Lyndon Steel on drums, all apparently originated from the West Indies. They enlarged their line-up to an 8 piece by incorporating Honey Darling, King Ossie and Earl Greene on vocals with Ossie also providing a DJ slot at this event, quite possibly as a support to the live gig. They reportedly became one of the most booked up London outfits during ’67/68, and after shortening their name to the Raisins they finally became Black Velvet in June ’69 following the tragic death of one of it’s band members after returning from a gig. Whilst Black Velvet released several singles and at least 4 albums on the Beacon, Pye, and Seven Sun labels between 1969 and 1973, The Coloured Raisins had several 45’s released by Trojan Records, the London based label founded by Jamaican Duke Reid in 1968 and one of the most important and influential labels in the history of British popular music. Trojan were not only responsible for introducing the UK public to ska, rocksteady and reggae at a time when Jamaican music was slowly making it’s mark into the mainstream, but they also provided The Newmarket with several other artists, some of which were part of that mainstream. Their Trojan singles, most of which date from 1969, reveal a more than capable band that had apparently abandoned their “soul” epithet to embrace Jamaican rhythms. Incidentally, this was to be the first of a number of Newmarket gigs that concentrated on specifically on soul and/or Jamaican music thus gaining a healthy reputation as a venue that promoted and championed black music.

An appeal for more local groups to play Sydenham Community Centre’s monthly rave is being made by the organisers who are disappointed at the lack of Bridgwater area pop units wanting to appear there. (9th January 1968)

Also mentioned in this edition of the Mercury was the release of the debut single, issued by Parlophone Records on the 19th January 1968, by “local folk singer Pete Martin” called “No-One Will Ever Know”. Quite a prophetic title as it happens as no-one knew exactly what happened to him. To give him credit, he was a label mate of The Beatles, albeit for a short while and his single can currently be purchased for the princely sum of about £25. He also was due to make an appearance at Taylor’s Record Shop in the High Street which, as we know, was a sure sign of future stardom.

15th January 1968
PINKERTON’S COLOURS

Another example of Westside Promotions influence as this was another band that were mooted to play the Town Hall back in 1967 prior to Westside’s removal from the local scene. The Pinkerton’s were probably past their sell-by date by 1968. Formed in Rugby as “The Liberators”, they became “The Wild Ones” prior to a further name change in 1965 to their most well-known, and it has to be said, rather silly sobriquet. Also managed by Reg Calvert, The Fortunes head honcho, their career got off to a perfect start with their debut single, “Mirror Mirror” reaching No.9 in the UK charts, a hit that introduced the British public to that rarest of instruments, the Autoharp. For a band with a Top 10 record under their belt, singles were surprisingly sparse thereafter, only 5 more being issued over a 3 year period to be exact, of which only 2 charted, but only just, scraping into the Top 50 and Top 60 respectively. In fact the band had almost as many name changes as single releases, losing their “Assortment” to become “Pinkerton’s Colours”, then just “Pinkerton’s” and finally “The Flying Machine”, the latter of which enjoyed a solitary No 5 hit in the USA with the Honeybus sound-alike “Smile A Little Smile For Me” in 1969. As with a lot of bands from this period, the most interesting factoid revolves around who was in it. Drummer Dave Holland left in 1968 to form Trapeze, and finally ended up in the heavy metal band Judas Priest whilst bassist Stuart Colman, a walking encyclopaedia of early Rock N’Roll, not only ended up working for the BBC as a producer and for Radio London as a DJ, but was later largely responsible for the commercial success of Shakin Stevens, who he produced. In fact, in 1982 “Music Week” magazine voted him “the top singles producer of the year”. As for Shaky……watch this space.

A NEW SINGLE IN THE OFFING
With the current trend in unusual pop group names, you would think that “veteran” outfit Pinkerton’s Colours would be riding on the crest of the wave just now. But the truth is that the “Mirror Mirror” boys haven’t been in the Hit Parade since “Don’t Stop Loving Me Baby” some 18 months ago. It’s all rather mystifying when you consider that they were among the originators of psychedelic titles and claim to be the first to have worn dazzling gear for stage performances. By every account they should have automatically slid into the recent cult. Why they didn’t is probably through an inexplicable decision not to release any more records. But this will soon be rescinded because, as rhythm guitarist Tony Newman told me between their gigs at the New Market disco last Monday, a new single is in the offing. “The A-side will be “Four O’Clock In New York”, written by Mitch Murray and Peter Callender who penned “Bonnie And Clyde” and The Tremeloes “Even The Bad Times Are Good”, said Tony, “We’re hoping it will put us back in the charts”. Amazingly though, their Top Pop absence hasn’t harmed their reputation and judging by the reaction of the audience at Bridgwater, the fans still remember and support them. Indeed, this Rugby group, consisting of Tony, Sam Pinkerton Kempe (vocals), Steve James (lead), Stuart Colman (bass) and Dave Holland (drums) get as many bookings as they ever did. They’re on a Tamla and soul kick at the moment, so it’s not surprising they included numbers like “I’m Wondering” “Show Me” and Donnie Elbert’s “Little Piece of Leather” for their Bridgwater date. Let’s wish them all the luck with that new disc – I think they’re going to need it.

Local girl Vicky Bromley is probably the envy of many a pop music fan because she knows Fritz Fryer, ex-member of the former Four Pennies pop group. Sydenham Rave this Friday has The Pajama Set from Weston and a return visit by The Masque. Sound Assault and The Satan’s People already booked for February. (16th January 1968)

22nd January 1968
The Midrod Ends

A band that appeared to be a permanent fixture at the Newmarket during it’s early days. They may well have been advertised as being “back by popular demand” but one can only guess that during it’s embryonic period the promoters were discovering that there simply weren’t enough groups to go round. However another clue as to their popularity is that they were managed by Westside Promotions who were, of course, the promoters of Newmarket’s shows.

29th January 1968
THE GRAHAM BOND ORGANISATION

 Graham Bond was one of those British artists who, along with Alexis Korner and John Mayall, was responsible for providing a haven for several musicians who went on to achieve notoriety and fame elsewhere. Born in Romford, like Mike Cotton, Bond started out as a jazz musician and first achieved some success as a saxophone player in the Don Rendell Quartet before briefly joining Korner’s Blues Incorporated. Voted “Britain’s New Jazz Star” in 1961 he formed his own Graham Bond Quartet with musicians taken from Korner’s band. And not just any musicians either but Ginger Baker on drums, Jack Bruce on bass, and guitarist John McLaughlin with Bond now favouring the Hammond Organ as his primary instrument. There are suggestions that the pillaging of Korner’s brightest stars was a deliberate act intended to upstage his rival, an antagonistic attitude that Bond was to maintain throughout his career. After the group became known as the Graham Bond Organisation, McLaughlin was replaced by Dick Heckstall-Smith on saxophone and 2 albums, – “The Sound of 65” and “There’s A Bond Between Us” – both released in the same year, are still revered amongst British blues rock enthusiasts as seminal records of the genre.

Something of an innovator, Bond is not only credited as being the first British musician to use his Hammond Organ in combination with a Leslie speaker but was also a very early pioneer of the Mellotron, an instrument that he demonstrated to a bamboozled Cathy McGowan on a 1965 edition of “Ready Steady Go!”. The band however were beset by problems. Bond himself was an early drug abuser and quite possibly because of this, he decided to hand over the running of the group to Ginger Baker, who, after constant rows with bassist Bruce, sacked him only to leave himself shortly afterwards. Bruce initially joined John Mayall’s Bluesbreakers, before a brief stint in Manfred Mann culminated in the formation of Cream, with Baker and Eric Clapton. Jon Hiseman took over the drum stool in Baker’s absence and the Organisation continued as a trio but the loss of his star pupils diminished Bond’s music. Unable to find a successful commercial synthesis that pleased the general public (all Blues bands in the 60’s were judged by hit singles and Bond didn’t have any) and with Bond’s deteriorating health, the band dissolved completely in 1967 with Hiseman & Heckstall-Smith forming the rock band Colosseum. It’s hard to determine exactly what kind of state Bond was in when he played this gig. One observer remarked that it was “just Bond on Hammond plus a drummer playing Jazz/Blues all bathed in a liquid light show”. Such was the erratic nature of Bond’s mental state it could be that the light show was more impressive than the actual performance as he not only continued to exhibit mental disorders, with manic episodes and periods of intense depression, but was still a heavy drug user. His career continued sporadically – he played as a session musician in America for a year, fronted a band called the Graham Bond Initiation with his wife, and was a temporary member of both Ginger Baker’s Air Force and Jack Bruce’s band whilst making a rather nondescript album with Cream’s lyricist Pete Brown called “Two Heads Are Better Than One” in 1972. Seemingly unable to prevent his decline, he started to show an unhealthy interest in the occult (he believed he was Aleister Crowley’s son) and spent January 1973 in hospital after a nervous breakdown. It has even been posthumously speculated (in the biography “Mighty Shadow”) that he sexually abused his stepdaughter. On 8 May 1974, at just 36 years of age, Bond was killed when he threw himself in front of a tube train at Finsbury Park Station. A troubled soul most certainly but an important, and largely overlooked, artist.

5th February 1968
Lucas with the Mike Cotton Sound

Seemingly another permanent fixture at the New Market. No doubt they were hugely entertaining but 3 appearances in 3 months was probably stretching things a bit.

12th February 1968
THE MUSHROOM CROWD

Frank Zappa once made an album with the Mothers of Invention called “Just Another Band From LA”. Here we have “Just Another Band From Taunton”.

Roadworks may become the first Bridgwater area beat group to land a recording contract. This Saturday they will be in London cutting several sides for Page One Records which could well culminate in a single for national release. “Local folk singer Peter Martin mentioned us in London when he was arranging his first disc some time ago, but we’d almost forgotten the project since, thinking nothing would come of it. Then we had a call from record company boss Larry Page”. (13th February 1968) Roadworks were previously known as The Insexts…..

19th February 1968
THE GENERATION (from Bridgwater)
26th February 1968
THE NEAT CHANGE

Information regarding “The Generation” is non existent but perhaps that is unsurprising as they were, “local” and not only that, in a scene that was beginning to provide a lot of bands with a strong following, they were not amongst the most prominent. As for “The Neat Change”, the ad suggests that they were “Direct From London’s Marquee Club” which gives them an air of respectability. Formed in 1966 by a musician called Jimmy Edwards, and apparently “discovered” by Spencer Davis, it would appear that they hold the distinction of being Britain’s first ever skinhead band though at the time of appearing at the Newmarket it’s just possible that they had grown out of that phase and had embraced all things mod. Their reputation at the Marquee however was a strong one but unlike other groups that had held down a residency there, like The Small Faces and The Who (with whom they were both favourably compared), they only made one single, the splendid “I Lied To Auntie May”/“Sandman” which appeared on Decca during the year of their Newmarket performance. Apart from sounding like a superior David Bowie out-take (that’s the Deram Bowie – not the Ziggy Stardust one) it has the distinction of being co-written by Peter Frampton & Andy Bown of The Herd and was apparently one of Kenny Everett’s favourite singles though despite the DJ plugging it regularly, it still didn’t chart. In fact Decca not only seemed to have little faith in the group as a whole, but only some members of the band appeared on it’s A-side. It was, by all accounts, not indicative of where the group were at musically which caused some friction within the line-up. There is something of a Yes connection with The Neat Change. It is not only rumoured that their bassist Chris Squire appears on the single despite not being a band member (a rumour that is unsubstantiated), but future Yes guitarist Peter Banks was part of the group but was sacked for refusing to get his hair cut! Jimmy Edwards, the undisputed leader of the band remains an intriguing character. Not to be confused with the handle-bar mustachioed comedian of “Whacko!” fame, during the early 1970’s he became a A&R man for Dawn Records. Whilst at the label he was responsible for signing Carl “Kung Fu Fighting” Douglas, helped Ian Dury during his formative years and in 1979 took over from Jimmy Pursey as the lead singer of Sham 69. He also recorded unreleased demos with The Pretenders and after the dissolution of The Jam formed Time UK with drummer Rick Buckler. Edwards sadly died of cancer in 2015 aged 65.

27th February 1968
WESTSIDE STORY!
Westside Promotions are to switch the days of their weekly pop concerts at the New Market Discotheque in Bath Road, Bridgwater it was disclosed yesterday. Since the venture started last Autumn the shows have always been held on Mondays, but now they will take place every Friday. The new series kicks off on 15th March with a guest visit from versatile British group The Symbols, whose “Best Part Of Breaking Up” on the President label has taken them into the national Top 30 for the first time. And the boys are expected to include their follow-up during their Bridgwater gig. With Westside’s concerts changing to Friday, it does not mean that there will be a change of format. The shows have built up a name for offering good groups from Somerset and farther afield, star attractions, disc jockeys and the best of the latest singles. All this will continue as before. “It’s just that we feel Mondays was a bad night” said Brian Mapstone, partner in the Street-based agency. “Now, having it on Fridays, means that it should be twice as good”. “Because of the re-organising, it also means that we shall have a slight break” he explained. “Our last Monday show will be tonight when we present The Neat Change from the Marquee Club, London and then we return on 15th March”. “In addition”, Brian added “P.P. Arnold will not now be coming for the time being”. Well let’s hope the new day will please a whole lot more fans than did Monday.

A huge shame about P.P.Arnold as she was advertised as a forthcoming attraction in the Mercury’s pages.

Local group Roadworks are waiting to hear if they will be given a recording contract by Page One Records – the label that made The Troggs famous. Roadworks changed their plan to cut a demo at the company’s London studios and instead made a tape locally which is now being considered by Page One executives. (5th March 1968)

15th March 1968
THE SYMBOLS

Another band that had already made an appearance in Bridgwater, though not, as it happens, under this name. The group began as Johnny Milton & The Condors and had originally appeared at the Top Twenty on the 13th May 1963. Details of that band can be found elsewhere in this blog but after the name change in 1965 they scratched around for a number of years without quite getting the proverbial big break. They released two singles during that same year, the first of which was produced by Mickie Most but within 12 months had been released from their record contract only to sign to a new label, President Records. Record label owner Edward Kassner felt that the band could have some success with songs that had previously provided hit material for American artists in the US charts. They had already made the mistake of passing on “Silence Is Golden” when a band member alerted The Tremeloes to the song despite the fact that the Symbols had been including it in their live repertoire. Their forte was their 4-part harmony, so it’s not surprising that it was another cover of a Four Seasons song, “Bye Bye Baby” (the very same song that gave us Bay City Rollers mania) that saw them dent the UK singles charts in August 1967, whilst their follow up, a pretty decent stab at The Ronettes “(The Best Part Of) Breaking Up” reached No 25 in 1968. On the very day of their Newmarket appearance, another single “A Lovely Way To Say Goodnight” (with trendy “phasing” studio effects) was released but The Symbols chart success eluded them for good from this point on. They soldiered on into the mid-70’s but with bassist Mick Clarke leaving to join the Rubettes in 1973 and the last original member John Milton leaving in 1974, it wasn’t long before The Symbols crashed for good (pun intended).

If there’s one man on the local pop scene who should be paid danger money then it’s “Keef” Walford, road manager with The Roadworks who figures in the Who-style smash up of equipment which the group often feature at the end of their act. Incidentally, Saga Records have now expressed an interest in The Roadworks demo tape and their manager will be going to London tomorrow to discuss possible recording plans with the company. (19th March 1968)

22nd March 1968
The Safety Catch

After a 3rd appearance in just 6 months by the Taunton aggregation, just when things were looking good, the volatile nature of Bridgwater’s Beat Scene, unsurprisingly based entirely on financial profit, reared it’s ugly head again. Just when it seemed that the Newmarket’s Discotheque was well established, Westside Promotions pulled the plug.

26th March 1968
Westside Promotions have stopped their weekly pop shows at the New Market Discotheque, Bridgwater. The Street agency has been running the shows since last September, but recent attendances have been poor, and after less than 100 teenagers came to see Taunton’s Safety Catch on Friday, it was decided to end the series. But it is stressed that the New Market’s discotheque evenings on Thursday and Saturday’s will continue, and they hope to arrange an event for Friday’s themselves to keep the venue going.

It’s just an observation, but booking the same artists on a regular basis was always going to dissipate the audience. It is interesting to observe that Bridgwater punters seemed to prefer watching local bands rather than the “big performers” that Mike Guy mentions in the article below. Maybe it was a simple question of Westside not fully understanding what their audience wanted. Also, there were so many other venues offering something similar that perhaps there was simply too much competition for Westside to contend with. Regardless of this, it wasn’t long before the cavalry (in the shape of Terry Clare) came to the Newmarket’s rescue.

16th April 1968
LOCAL POP SCENE VERY HEALTHY
With Westside Promotions having withdrawn their weekly pop concerts from the New Market Discotheque, pundits have again been saying that local fans didn’t want beat dances anymore. But there is no reason to believe that, because a quick check around at the weekend revealed that the Bridgwater pop scene is still very healthy. Sydenham Rave – staged on Fridays – is now holding fortnightly instead of three-weekly shows and reports splendid attendances. The Y.M.C.A. has recently come up with groups on Thursday nights and this is working well, while Bridgwater Boys Club keeps the dances going regularly and also presents pop groups. In addition, there are a number of other record hops being operated with success in the area by various clubs and organisations, as well as the Newmarket’s own events, now on Thursdays, Fridays and Saturdays. So why the Westside venture failed remains a complete mystery. The Street agency had only just switched their presentations to Fridays in a bid to boost falling audience figures, but the fans who came to watch Hit Parade stars The Symbols on grand re-opening night were far below the numbers expected. One could hardly excuse the agency for taking the view that nothing would go if a name attraction could not bring in the crowds, and when less than 100 teenagers arrived to see Taunton’s excellent Safety Catch the final decision to end the series was taken there and then. Westside have certainly introduced every type of artiste to the town since opening up at the venue last September. They’ve offered such big performers as The Moody Blues – long before the revived interest in them too – The Nashville Teens, The Mike Cotton Sound with Lucas, and lots of up-and-coming Somerset groups together with D.J.’s and the pick of the latest titles. Their exit from Bridgwater must be viewed as a great loss – and a sad one.

“Blue Sounds” play New Market Disco this Friday, followed by Midrod Ends on 3rd May. Groups to be booked for the disco’s Saturday sessions in the very near future… (23rd April 1968)

I think we can safely assume that Roadworks failed their Page One audition. Disbandment of Roadworks a terrible pity, but Insexts to be reformed with almost a completely different line-up. (23rd April 1968)

26th April 1968
BLUE SOUNDS

This sounds less like a band and more like a DJ and his mirror ball. Undoubtedly another local group but from where exactly? Answers on a postcard please…..

Circles added to Sydenham Rave “do” with the Sound Assault this Friday. The previous Rave had very good Yeovil outfit The Mirrors who’ve cut a demo of “Gingerbread Man” and recently backed The Love Affair and The Who. (30th April 1968)

3rd May 1968
The Midrod Ends

SOUNDS INCORPORATED – rated one of Britain’s top instrumental and vocal groups, will play Sydenham Rave on Friday 17th. This is really something for this smaller venue and there’s talk of other big national attractions coming there in the future.… (7th May 1968)

10th May 1968
THE EVACUATION

Promoter Graham Alford, who used to run the town’s Top Twenty Club, filming big groups at Glastonbury Town Hall last Friday for a new TV pop programme to be screened later this year. Soul aggregation called The Evacuation were @ New Market Disco on Friday….. (14th May 1968)

Justin’s Timepiece are the next local band to make a bid for national stardom. The three piece unit whose first public engagement was at Bridgwater’s YMCA went into the Hampshire studios of famous recording manager Terry King last week and will have their first disc released throughout the country in July. One side of the single will be a mid-tempo instrumental “Bill Duram Workout” composed by the boys and originally titled “Timepiece Blues”. The group are to cut the other side later with Terry who has been associated with The Troggs and many other top artistes. (14th May 1968)

17th May 1968
SOUNDS INCORPORATED

The booking of this band was quite a coup for the Sydenham Community Centre though the venture proved to be sadly short-lived. Sounds Incorporated were yet another band who had previous having played The Town Hall on the 2nd September 1963. The archetypal 60’s instrumental beat band, despite their brilliant musicianship one wonders what material would have been in their repertoire circa 1968 and whether they had become just a little passe. It’s certainly fair to say that their best days were behind them. What turned out to be their final single had been released in 1967 and their last album for a major record label appeared the year before. Instrumental bands were all the rage during the early to mid 60’s but despite Sounds Incorporated being the pick of the bunch it was a format that was never going to last, consequently their performance at the Sydenham Rave would probably have been regarded as a little old fashioned and out of date. Maybe that explains the poor attendance figures…

24th May 1968
THE MIRROR

With yet another attempt at trying to attract name bands to Bridgwater failing miserably (The Sydenham Rave’s venture into booking professional artists was pretty much abandoned after just one night), the New Market was slowly re-grouping thanks to the efforts of Terry Clare, the landlords son. The Mirror were from Bath and were well known enough to have appeared on The Beat Club, a hugely influential West German TV program that ran from 1965 to 1972 and which spawned 100’s of You Tube clips that are fascinating, historic and entertaining in equal measure. However, apart from releasing a single called “Gingerbread Man” in 1968 for Philips Records I know nothing about this group apart from it’s line-up and that doesn’t give me any clues. (The “A”-side was written by the band’s guitarist Bob Pierce whilst the flip “Faster Than Light” tries to be “far out” without really reaching it’s destination) One thing I do know is that the single didn’t chart but it’s one of those songs that you think you’ve heard somewhere before. This, incidentally, was their 2nd performance in Bridgy in quick succession having previously played the Sydenham Rave though on that occasion, Mike Guy suggested they were from Yeovil.

28th May 1968
SYDENHAM RAVE PLANS SHELVED
Plans to bring big name groups to Sydenham Community Centre’s Raves have been shelved because not enough fans came to see Sounds Incorporated, one of the country’s longest running instrumental and vocal pop groups. Roy Brogan, the centre’s warden, told me; These large dances were planned for once every three months and were to have been run on a non-profit making basis. “They were really meant as a kind of “thank you” to the youngsters for supporting us so well in the past. But having incurred considerable financial loss on this first one, we can’t risk losing a lot of money on any more in this bracket”. He explained; “We had 200 along for Sounds Incorporated, which was not a bad figure, but it must be remembered that we get around 280 fans each fortnight to see local beat groups”. Mr.Brogan said it was a complete mystery to him why the usual numbers were not attracted. However, he thought it could partly be due to the fact that it was necessary to increase admission prices from the usual 4s 6d to 7s 6d. “As we have always catered for the younger fans – from about 14 to 16 years of age – they may have found the extra 3s. too much to pay” he went on. “But we can’t present famous artistes without putting up ticket prices. I’ll get The Rolling Stones here if audiences are prepared to pay to see them”. He said the disappointing support was no reflection on Sounds Incorporated, who staged a “fantastic show”. In addition to their normal act, they closed with 50 minutes of old rock songs, which greatly pleased those present. Apart from a new organist, they played with the same line-up as when they used to appear on national one-night package tours six or more years ago. And they stayed till after midnight signing autographs. Supporting attraction was Satan’s People from the Burnham area. Mr.Brogan said they would go on offering local groups, since this was apparently what teenagers preferred, and he announced that the next Rave this coming Friday (31st May) would mark the debut of a new Bridgwater unit, The Re-Action. Also on the bill will be The Sheridans, recording artistes, from Bristol.

Justin’s Timepiece recording again within two weeks for their debut single out in July… Philips stars The Mirror (new single “Gingerbread Man”) booked for New Market disco last Friday. Coming there this Friday, The Workshop, an eight-piece soul outfit followed by the not to be missed Joyce Bond Show on the 7th June. (28th May 1968)

31st May 1968
THE WORKSHOP

7th June 1968
JOYCE BOND SHOW

After booking an 8-piece band called The Workshop on the 31st May, next up was this young lady, another artist that I know absolutely next to nothing about. I am indebted to Discogs for at least providing some information but there isn’t much to go on. She was born Joyce Isoline Smith-Lebron in the Parish of Portland, Jamaica, and was also known as Isoline Fearon, Sister Smith and of course Joyce Bond. Migrating to England to complete her studies it was in the UK that she began her singing career (a woman of many aliases she was also known as “Agent Double-O Soul” – though wasn’t that Edwin Starr’s nickname?) She toured the Caribbean and Europe before moving to the United States with her husband, where she settled to work as an Administrator in a medical facility for the U.S. Army. And that’s about it. She recorded for Island Records and her reputation seems to hang on an album she released in 1967 entitled “Soul And Ska” which featured versions of “007” “Sweet Soul Music” and ummm “Puppet On A String”. Another web-site called “Northern Soul In Jamaica” gives us the following; “A well-remembered figure (and quite a tasty one if I remember correctly!) she cut a version of Jackie Edwards’ “Tell Me What It’s All About”, and Joe Tex’s “Sugar”. And, if you’ve ever wondered who that silly, sexy song “Do The Teasy” was by – that was Joyce Bond too!” I must confess “Do The Teasy” doesn’t mean anything to me but it not only appears on the aforementioned “Soul And Ska” album, it turns out to be a slightly salacious take on Hopeton Lewis’ Jamaican classic “Take It Easy” from 1966 despite the fact that the single gives a songwriting credit to Bond’s producer Harry Palmer (Joe Tex’s “Sugar” was the B-side.) Further inspection revealed that she cut a fairly nondescript cover of The Beatles “Ob-La-Di-Ob-La-Da” in December 1968, and during the same year produced an abomination called “Back To School” that somehow finds room for a couple of rousing choruses of “Knees Up Mother Brown”. I bet that went down well on the Newmarket disco floor. To her credit she continued well into the 70’s with a more refined selection of reggae cuts.

Three Bridgwater carnival clubs have entered the pop music world in order to raise money for their funds. The move means that beat fans will now have an extra weekly dance date offered to them in the town with live entertainment by West Country groups and the chance of seeing bigger attractions if attendances are good. The series began on Friday with a scheduled appearance by an outfit called Benedict Arnold from Clevedon. Planned for the rest of this month on that day are The Klick, a five-piece soul group from Bath (this Friday), Yeovil’s Stormy (21st) and the youthful Mushroom Cloud from Taunton (28th). One of the organisers, Alan Hitchcock, stressed that they were definitely not out to take business away from other dances running in Bridgwater on the same night. (11th June 1968)

These shows were advertised under the banner “Friday Rendezvous” and were held at the Town Hall, the first time that venue had been used for a regular “pop function” since the Top Twenty days.

The Symbols re-appear and Bristol’s top group The Workshop return by public demand the following Friday (28th). The New Market starts a fresh series of “live” Saturday night dates this week with Sound Assault. (18th June 1968)

21st June 1968
The Symbols

Local group Justin’s Timepiece have their debut single released on 30th August, it was revealed this week. The “A”-side is “Lonely Man”, written by lead guitarist Andrew Priddy and described as an unusual number with “Bill Duram Workout”, a blues instrumental co-penned by Andrew, Richard Hicks (bass) and Mike Fouracre (drums). The disc will mark the launch of a brand new independent label “Reverberation”, to be run by well-known recording manager Terry King who supervised both tracks on the group’s single. The band have provisionally accepted a 3-year contract with Terry. (25th June 1968)

Good attendances reported for Town Hall carnival dances….. 270 fans saw The Insexts and The Sound Assault at Sydenham Rave…. (25th June 1968)

The Rave has two Bristol groups booked for Friday (28th). The Alabama Shoestring Band and The Soniks. (25th June 1968)

28th June 1968
The Workshop

19th July 1968
REPARATA & THE DELRONS

The Newmarket were still functioning but were in danger of repeating a formula that threatened to undermine all of the good work they had done thus far though no doubt regular punters were just happy to see live performances appearing on a regular basis, regardless as to who the band might be. But this gig turned out to be something of a turning point for Terry Clare and provided him with a template that, once repeated, established the venue as the main source of entertainment in Bridgwater. He secured a booking for an American vocal group who were making their one and only appearance in the South West. They started out as a 5-piece from Brooklyn but eventually were whittled down to a trio featuring Mary Aiese, Sheila Reilly and Carol Drobnicki. They were spotted by a couple of record producers and a quick change of moniker (Reparata was Mary’s confirmation name) resulted in a debut single in 1964 whilst during the following year “Wherever A Teenager Cries”, recorded for the World Artists label, reached No 60 in the Billboard charts with follow-up “Tommy” also denting the Top 100. Also in 1965, having opened for The Rolling Stones at a concert in Philadelphia, both Drobnicki and Reilly left and, after signing to RCA, new members Nanette Licari (one of the original vocalists from the 5-piece days) and 18 year-old Lorraine Mazzola completed the trio. This became the “definitive” Renata & The Delrons line-up and certainly the most prolific, though despite releasing a dozen singles – all recorded in very much the same vein as the Shangri-La’s or The Ronettes – none of them charted. In retrospect it’s hard to understand why as at least a couple of them, “I’m Nobody’s Baby Now” and “Mama’s Little Girl” (written by Jeff Barry and Chip Taylor respectively) might have given Phil Spector a run for his money.

A move to Mala Records (a subsidiary of Bell) saw them release the Kenny Young penned “The Captain Of Your Ship” in 1968. Interest Stateside was pretty much non-existent but the record took off in the UK and reached No 13 in the singles charts. Even John Lennon & Ringo Starr attended the reception when the single was launched by the record label. The tour that saw them play the Newmarket was scheduled to promote that single and they were backed throughout by the Scottish progressive rock band Clouds who were eventually signed to the Island label. Just one year later, a career highlight saw the girls providing backing vocals for The Stones “Honky Tonk Women” but further success eluded them and they released their final single, a cover of The Ronettes “Just Walkin In The Rain” in September 1969. Lorraine Mazzola eventually ended up as one of Barry Manilow’s backing vocalists.

Bridgwater Boys Club booked an outfit called The Vicious Circle for last Friday. On Thursday, Bridgwater YMCA has The Re-Action. Following night (26th), Taunton’s Vicky and The Sabres top Sydenham Rave supported either by The Balloons (fresh back from their Bulgarian tour) or Roman Remains who are both from Bristol. (23rd July 1968)

26th July 1968
The Workshop

2nd August 1968
The Mid-Rod Ends

“This summer must surely have been the best one ever for pop followers in the Bridgwater area. Never have you had the choice of so many different shows at what is normally regarded as a quiet time of the year for entertainments” So said Mike Guy in the first of a new series of weekly columns called “Pop Gossip” which first appeared in the 6th August edition of the Bridgwater Mercury (though after one week it changed it’s name to “Pop Topics”). Alongside the Newmarket, the town’s live scene was thriving at this point though the emphasis was still very much on live entertainment that either came from local bands or artists from a 50 mile radius of Bridgwater. Included in the roll call of music venues were the Sydenham Community Centre with it’s regular weekly “Raves”, Bridgwater Boys Club at the bottom of Westonzoyland Road, the YMCA, The Town Hall (now hosting Carnival dances organised by 3 carnival clubs) and the Bridgwater & Albion Rugby ground in Taunton Road who started “Rugby Raves” on an intermittent basis on Friday nights. On the 9th August, the Newmarket treated us to the 4th appearance by Bristol’s finest The Workshop in just 10 weeks which suggests that they hadn’t quite got the formula right yet, but apart from the occasional concert at Sydenham, the Bristol Road pub were the only venue who were providing performances by bands and singers that could be called either “National” or in the case of the gig that took place on the 23rd August “International”. And from that point on, they hardly put a foot wrong for at least 36 months.

New Market disco once again has The Workshop on Friday. Shows how well the Bristol unit goes down. Sydenham Rave has broken up for the Summer hols. They return on 6th September kicking off another season with The Dipps and The Network, two Bristol outfits making their debut in the Borough. Sydenham Rave has some big things lined up too. They plan to have national attractions there about once every three months and the first to come will be The Orange Bicycle on 4th October. (6th August 1968)

9th August 1968
The Workshop

Bridgwater YMCA announce they have The Profile on 29th August….Following day The Sound Assault star at second Rugby Rave….Great blues programme being arranged by Terry Clare of New Market disco for 20th September. Will be headed by ex-John Mayall drummer Keef Hartley…The Insexts have disbanded but lead guitarist Bob Pattenden says he’s forming Ethiopia’s Answer…. (20th August 1968)

20th August 1968
The visit of a group signed to The Beatles Apple publishing company, an appearance by an American soul outfit, and the official send off to a new local recording group – these are the big events lined up for fans in the Bridgwater area this week. And the activities begin tomorrow (Wednesday) when the Shapwick House Hotel present Fire, the unit attached to The Beatles stable, who are currently on a 52-day one-nighter tour all over the country. Group members are Dave Lambert (lead guitar), Dick Dufall (bass) and Bob Voice (drums) and I’m told this will be their only performance in Somerset. Formed in Hounslow, Middlesex, one year ago, they quickly established their name in London and the suburbs and have earned a reputation over the Home Counties and South Coast district. A recording contract with Decca followed, their first release being “My Father’s Name Is Dad”, and on 30th August a second single comes out – “Will I Find Love”, penned by Dave – which they’ll probably feature at Shapwick. The show will take place in a marquee on the Hotel grounds and resident group Stormy are expected to complete the bill. Moving on to Friday, the New Market disco has The Four Fantastics, a coloured group from the USA who came over to this country some little while back and have stayed ever since. Popular in the clubs with their Four Tops-styled soul music, the lads originally went under the name of The Fabulous Temptations but dropped this to avoid confusion with the American Temptations. So if you want soul it’ll be there in plenty at the New Market. Justin’s Timepiece, whose 45-er “Lonely Man” is issued next week on Reverberation, were in the studios again over the week-end cutting the follow-up for late October release…..

21st August 1968
FIRE

Regarding the band “Fire”, they are of some interest. Of their three band members, Dave Lambert eventually joined The Strawbs. They released 2 singles for Decca in 1968 (plus 2 more that remained unissued), the first of which, “Round The Gum Tree” sounds like a hybrid of Bowie’s “The Laughing Gnome” and “The Banana Split Song” and weighs in at 1 and a half minutes long. The 2nd 45, the Who-influenced “My Father’s Name Was Dad” is much better and shows considerable promise. They also recorded an album for Pye Records in 1970 called “Magic Shoemaker”, an ambitious narrated song cycle about a shoemaker who creates a pair of magical shoes that allow him to fly. The album has not only been in the Top 10 of collectable vinyl for a long time but it is actually listed in Miller’s Antique Collectable guide.

As of June 2025, there were only two copies of the original vinyl album available on Discogs, the cheapest of which would set you back approximately £1,300.00. One gets the impression that as intriguing as the album may be, it may be best to keep your money in your wallet. Incidentally this was not strictly a town gig but as Shapwick is just 9 miles away from the thriving metropolis that is Bridgwater, it deserves to be mentioned. Besides, nothing ever happened in Shapwick so it deserves a plug.

23rd August 1968
THE FANTASTICS

A band who not only had an interesting history, but also had the canny ability to re-invent themselves musically. By the time they had arrived at The Newmarket they were a soulful, tightly-run, extremely professional vocal quartet from the US of A but their origins go way back to the early 50’s. They started life as a Doo-Wop group called The Troubadours in 1953 and like Reperata & her Delrons hailed from Brooklyn. By 1956, after several personnel changes, they had become The Velours and it was under this name that they achieved two minor hits – the excellent “Can I Come Over Tonight” in 1957 and “Remember” the following year, both of which crept into the bottom regions of the Billboard Top 100. Commercial success eluded them after these minor successes but they built an excellent live reputation, particularly at the infamous Apollo Theatre in Harlem, where they played regularly alongside artists such as Bo Diddley, Fats Domino and Larry Williams, amongst others. After disbanding in 1961, two of their original members re-formed the group in 1966 and recorded “I’m Gonna Change” for MGM the following year, a song that sounds like a long lost forgotten Northern Soul floor shaker.

Somewhat rejuvenated, they agreed to tour the UK during the year of the single’s release but discovered upon arrival that the tour agent had erroneously billed the band as “The Fantastic Temptations” which led to punters expecting them to perform Motown songs. They somehow survived this mis-hap and returned again the following year having received a personal invitation from Peter Stringfellow. By now, they were known as The Fantastics (or The Four Fantastics according to the New Market). Due to the reaction that they received in this country, they decided to stay, building up a steady live following, and in 1971 were rewarded when the Tony MacCauley, Roger Greenaway and Roger Cook song “Something Old, Something New” reached No 9 in the UK charts, whilst another song “(Love Me) Love The Life I Lead” penned by pretty much the same team, gave them another minor hit in the States. They were still going by 1986, though by now this was primarily on the cabaret circuit, with most of the original members having left by then, one of which, Richard Pitts, became a lecturer at the University of Huddersfield.

Four Fantastics enthralled New Market Disco audience. Rumour has it they return there in October…Competition to find new name for Sound Assault. Last week they did some trial tapes at Westside’s new recording studios in Shepton Mallet including a version of Ben E. King’s “Stand By Me” and they will be returning there for more sessions later on. The Sound Assault booked for the New Market disco this Saturday (featuring new keyboard player Colin Heath) (27th August 1968)

Reminder that YMCA have The Profile this Thursday…Following night, The Hush, a seven-piece soul contingent from Birmingham star at New Market Disco. Apparently they’ve just completed their first recording for Fontana…New Market really goes to town on 6th September with another Brum group, The Idle Race….Justin’s Timepiece honoured by visit of Trogg Pete Staples while cutting their follow-up. (27th August 1968)

30th August 1968
THE HUSH

They played the New Market for sure but they aren’t particularly well-known so info is scarce. They were a 5-piece band from Birmingham (though Mike Guy suggests they had 7 members) who made just the one single for Fontana, the ultra rare “Elephant Rider” (the intro of which sounds suspiciously like a well-known Manfred Mann single about a circus clown) Drummer Mac Poole took over from Cozy Powell in a band called Young Blood whilst keyboard player Peter Wood enjoyed some success as a session musician and co-wrote “Year Of The Cat” with Al Stewart. And that, as they say, is yer lot.

6th September 1968
THE IDLE RACE

This band were from Birmingham too – but whereas The Hush were a tad obscure, this fine group concealed someone more famous than all of the members of that band put together. The band’s origins can be found in another Birmingham group, one that had played Bridgwater before. Mike Sheridan & The Nightriders played The Top Twenty club on the 28th June 1965 and at that point in their history not only included lead singer Sheridan but all-round good guy, the multi-talented and criminally under-rated Roy Wood. After Wood left to form The Move, the band contained just a few strands of what they had started with and during the personnel re-shuffle, they employed a young man called Jeffrey Lynne, a young guitar prodigy from Shard End. After recording one single for Polydor as The Nightriders (entitled “It’s Only The Dog”), more changes were required as the band entered the psychedelic age with heavier emphasis placed on Lynne’s Beatle-influenced songwriting skills. With Sheridan finally jumping ship and aided by some help from Wood, who arranged a deal for the group, the now re-named Idyll Race (quickly changed to The Idle Race) obtained a deal with Liberty Records, the first English band to be signed by the label. Their debut single, the Roy Wood-penned “Here We Go Round The Lemon Tree” was only issued in the USA as it was in direct competition in this country with a version released on the “B”-side of The Move’s “Flowers In The Rain”, but from 1968-1971 they made 3 albums for Liberty, (though only 2 of these feature Lynne) beginning with “The Birthday Party” in 1968. They were heralded by the press and by high profile DJ’s Kenny Everett & John Peel whilst The Beatles were also apparently admirers. However, their critical acclaim never reached as far as the paying public and sadly they were one of those “should-have-made-it-but never-did” groups. Listening to their music reveals no shortage of invention and songwriting talent though Lynne’s Beatle-fixation (he may have sounded a little like John Lennon but his songs were very much influenced by the more whimsical part of McCartney’s catalogue) possibly reveals a slight lack of identity with too much emphasis on clever production techniques and an almost music hall approach to some of the material. However, they left behind some forgotten gems (such as “The Skeleton And The Roundabout”, “End Of The Road” and the excellent “Morning Sunshine”) that received healthy radio play but no chart success. Roy Wood’s admiration for Lynne was unabashed but the latter turned down the chance to join The Move in 1969, concentrating instead on the Idle Race’s eponymous 2nd album (which flopped miserably). Due to the failure of that project, Lynne eventually joined forces with Wood one year later, but only after it was agreed that The Move would eventually be retired in order to make way for a brand new project called The Electric Light Orchestra, and we all know what happened to them. After Lynne’s departure the remaining members stuck around long enough to make a 3rd record and then later succeeded in employing the talents of both Steve Gibbons (for just 3 months), and ex-Move bassist Trevor Burton before finally calling it a day in 1972. However, the nucleus of this group continued as The Steve Gibbons Band and another new chapter was born.

The Idle Race, first British band to be signed by Liberty Records, are hoping that no-one will compare them to that other Brum outfit The Move when they appear at Bridgwater’s NewMarket disco this Friday. Although Move’s lead guitarist Roy Wood was a member of the group until he joined The Move two years ago, The Idle Race claim they are not like them at all. Understandably, the boys are getting tired of the comparisons drawn between them and the “Fire Brigade/Flowers In The Rain” gang. “That’s one of the reasons why we chose our name – it’s just about the direct opposite to The Move” says Dave Pritchard, who’s on lead guitar. So stand by to hear something different than that and something equally good on Friday. Material like “End Of The Road”, their third and newest single and “Skeleton & The Roundabout” which was the previous one and the disc which got 120 spins on Radio 1 programmes. Keep a lookout too, for any numbers off their L.P. ,E.P. and next 45er, which Liberty issue simultaneously in a few weeks. And you can also prepare to get your “Fight For Free Radio” banners ready because the group are avid supporters of the campaign to get commercial radio legalised in this country. With Dave on stage is Jeff Lynn (lead guitar and vocals) the song writer, who has penned “I Like My Toys” for disc jockey Ed Stewart (out on 27th September), Gregory Masters (bass) and Roger Spencer (drums). And I’ve just heard that they appear in a commercial for one of the Banks, which was filmed recently and also features their music.

The Re-Action and bill topping Sound Assault put on good entertainment for the second Rugby Club rave…Bristol’s Force West, who feature a close harmony style like The Beach Boys and the Four Seasons star at New Market disco this Friday. Their latest disc is “Walk In The Rain”. (10th September 1968)

13th September 1968
The Force West

Another band that had played Bridgwater previously (on the 17th July 1966), they were one of the last groups to grace The Town Hall stage as part of The Top Twenty set-up. From Bristol, their history can be seen elsewhere in this blog. At the time of their Newmarket appearance, the CBS 45 “I’ll Walk In The Rain” was their latest release, produced by ex-Springfield Mike Hurst.

Bristol’s Sound City and The Medium Rare return to Sydenham Rave by popular request….After Keef Hartley, New Market disco declare October soul month with expected return of The Joyce Bond Show and The Four Fantastics….Adge Cutler and The Wurzels will provide cabaret at a Tramps Ball to be held at the Bridgwater and Albion RFC Clubhouse next Friday evening.. (17th September 1968)

20th September 1968
KEEF HARTLEY & HIS BAND/Justin’s Timepiece

Blues fans from Bridgwater and a wide area of Somerset will be going to the New Market discotheque on Friday to see ex-John Mayall drummer Keef Hartley and his band. It promises to be one of the most interesting shows ever staged at this trend-setting venue. For those who like to know something about the men behind the music, Keef was born in Preston, Lancs. on 8th March, 1944. During his early life he showed very little musical tendencies and, in fact, most of the corporal punishment received whilst at school was given by the music teacher! At the age of 17 he started to take an interest in pop music. He wished to play drums, thinking that this would be the easiest instrument, but after six months he realised he was becoming more and more involved in the instrument’s complexities. In the Summer of 1962 he left home and went to live in Liverpool to join the then happening “Mersey Sound”. There he teamed with Rory Storme & The Hurricanes, where he took over from Ringo Starr who had just left to join The Beatles, a promising group at the time. After the Mersey Beat boom faded, Keef found himself playing in all sorts of dives in the North, and at one of these he met many big names from London, who persuaded him to board a train for the “big city” in September 1964. He spent three years with The Artwoods, until he met with John Mayall in April of 1967, whom he had known on and off for about three years through doing recording sessions with John and Eric Clapton on various Champion Jack Dupree albums. Keef joined The Bluesbreakers as drummer and earned himself a reputation for being something of an extrovert personality – examples of which are contained in the two volume “Diary Of A Band” set of L.P’s which he recorded with that group. Last April, John suggested that Keef should start his own band, which he did, both with verbal and financial encouragement from John. And so in just four days you will have the experience of hearing Keef with singer Owen Finnegan, guitarist Spit James, organist Peter Dines and bass guitarist Gary Thain. It is understood that Justin’s Timepiece and D.J. John Bull will complete this all-blues evening.

After Hartley’s Newmarket appearance, he secured a deal with the ultra progressive Deram label and in 1969 released not one, but two albums. The first, “Halfbreed” (which features Hartley on the sleeve dressed as a Red Indian, a persona that he sometimes adopted on stage) was released in March whilst the second, “The Battle Of North West Six” (described as “an amazing display of virtuosity” by The Vancouver Sun) came out in November of that year. In between those two albums Hartley’s growing reputation was good enough for his band to make an appearance at the Woodstock Festival, playing on Saturday 16th August, the same day as The Who. (Which of course means that TWO bands that have appeared in Bridgwater both played a part in one of the most historic dates in popular music history). However, the band was the only artist that played at the festival whose set was never included on any officially released album (prior to 2019), nor on the soundtrack of the film. Despite this accolade, commercial success eluded him though he was a good draw on the live circuit. He continued to issue albums with both John Mayall and his own band and issued one LP as a solo artist (“Lancashire Hustler” in 1973), as well as making appearances as a session musician on albums by Vinegar Joe (“Rock N’Roll Gypsies” in 1972) and guitarist Michael Chapman for whom he appeared on 3 records from 1975 to 1977. Bassist Gary Thain later became an original member of the group Uriah Heep.

Regarding the support band, this was a rare appearance in Bridgwater for the Taunton-based Justin’s Timepiece and it occurred just one month after the release of the aforementioned “Lonely Man” (which , despite having signed a 3 year contract with Reverberation Records, turned out to be their one and only single). Apparently two members of this band went on to form the group Marsupilami (named after a Belgian comic character), a band who toured with Deep Purple in 1969 and released two albums on the Transatlantic label in 1970 and 1971 respectively. More about them later…..

Some great improvisation from blues artists Keef Hartley & His Band and Justin’s Timepiece at the New Market. Material to stop and listen to…..

Re-Action booked for YMCA on 3rd October….following night fantastic Rave at Sydenham with Orange Bicycle, Bridgwater’s new group Ethiopia’s Answer and The Re-Action (24th September 1968)

Sound Assault now called Time Cycle. (1st October 1968)

Re-Action play Bridgwater’s YMCA this Thursday and the following evening go to Sydenham Rave…You’ll have to choose between the Rave and the New Market Disco that night…Rave have national outfit Orange Bicycle with Ethiopia’s Answer who will be making their stage debut. New Market presents an eight-piece soul show called The Traction… (1st October 1968)

4th October 1968
THE ORANGE BICYCLE

NOT a Newmarket gig but a fairly significant one nevertheless. Like The Idle Race, the wonderfully named “Orange Bicycle” had their origins in another band that also had played The Top Twenty. They were, prior to passing their psychedelic cycle proficiency test, Robb Storme & The Whispers, owners of one of the most poptastic but sadly under-rated singles of the mid-60’s, “Where Is My Girl?”, the riff of which was nicked by Pete Townshend for “Substitute” after hearing the single on the radio. Storme and his Whispers are covered elsewhere in this blog but as for The Bicycle’s, their career sadly didn’t last very long. Having chosen their new epithet directly after their previous incarnation had recorded a cover version of The Beach Boys “Here Today”, their debut single “Hyacinth Threads” – a wonderful slab of British psychedelia that also passes as proto prog rock – got to No.1 in France and was also a success in other European countries. But despite being regarded as one of the best British psychedelic singles of all time, in terms of chart success in the UK, it’s failure resigned the band to an underground status. A 1968 appearance at the Isle of Wight Festival alongside bands such as Jefferson Airplane, The Move and Fairport Convention, promised future success and during the following year the BBC included them on their BBC2 TV program “Colour Me Pop”, the precursor to The Old Grey Whistle Test. In 1970 they released their eponymous debut album, but having nailed their kaleidoscopic colours to the mast, as all things far-out became out of fashion, the band spilt in 1971. Original member Kevin Currie joined Supertramp whilst Will Malone became a successful record producer.

Big groups will now appear at Sydenham Community Centre’s Raves following good support for The Orange Bicycle show. I looked in during the evening to see how it was going and was most impressed by what I saw. New Bridgwater unit Ethiopia’s Answer were making their debut and had the challenge of warming things up in just 20 minutes. Although the fans seemed uncertain over quite what to expect from them, they should build up a following as time goes on. Next to step on to the stage were The Re-Action, a young, alive group who I rate very highly. Then came the bill-topping Orange Bicycle to offer some beautifully smooth West Coast harmonies. Reminding me of The Symbols, this London-based quartet certainly know what they’re doing while in Rob Scales they can boast of having a quality main vocalist. This was the first occasion the Rave had presented three groups on one programme, and the organisers should be congratulated on their enterprise. It was no mean feat to have arranged such a crowded and busy schedule as well as they did.

4th October 1968
THE TRACTION

Pop pickers were spoilt for choice on this particular evening as appearing in the New Market on the same night as the Amber Cyclist’s were this band, a soul conglomeration from Birmingham. Formed in 1964, The Traction were born out of the ashes of an R&B group called The Yamps. Having augmented their line-up with a brass section, their style of music became more soulful and the obligatory re-brand was completed by a change of name. Band member Will Hammond wasn’t keen on the make-over however and left to join forces with another combo who played Bridgwater in the late 60’s, the Steve Gibbons-led Ugly’s. The Traction recruited Birmingham’s own “Little Miss Dynamite” Brenda Bosworth on vocals and it was her lung power that attracted the attention of one George Martin. Having arranged an Abbey Road session with the band, Bosworth impressed but George didn’t seem to share his enthusiasm for the rest of the line-up and sadly things unravelled fairly quickly with no record deal and Bosworth leaving. It’s hard to know exactly what version of The Traction Bridgwater witnessed as this was a group that swelled in size almost at whim, boasting, at one point, no less than 14 group members. It would appear however that for this gig they had slimmed down to a comparatively small combo of 8.

The Joyce Bond Show returns to the New Market disco this Friday….well worth going along. (8th October 1968)

11th October 1968
The Joyce Bond Show

Joyce Bond socked it to us at the New Market with a beautiful mixture of Ska and soul music. She even got members of the audience on stage with her…

Bridgwater YMCA has Albert Road, seven-piece aggregation from Bristol on Thursday. The Friday night dance choice gets more difficult every week. Take a look at this Friday for instance….New Market Disco gives you Weymouth’s top soul outfit The Package Deal…Sydenham Rave brings down The Breadline (Bristol) and Chaos (Newton Abbot) then there’s another Rugby Rave at Bridgwater’s RFC Clubhouse with Satan’s People. (15th October 1968)

18th October 1968
THE PACKAGE DEAL

From Weymouth, a place known for it’s stunning beaches, historical landmarks, and family-friendly attractions and not, it should be said, top soul outfits.

It is rumoured that The Flirtations come to the New Market in November. (22nd October 1968)

25th October 1968
The Fantastics

Four coloured artistes – John Cheatdom, Jerome Ramos, Donald Haywoods and Richard Pitts – make up one of the most exciting acts to be seen in this country. Collectively they’re called The Fantastics and on Friday they return to Bridgwater at the request of fans for another performance at the NewMarket discotheque. The Fantastics were all born in New York and went to the same high school – Brooklyn Boys. All four had college educations, and Jerome Ramos had graduated with one of the most esoteric degrees obtainable. He is in fact a fully qualified, licensed, embalmer. Richard Pitts obtained a degree in advertising and John Cheatdom a degree in classical studies. While at college the group broke up but their love of music and singing before the public brought them together again. The group was first fomed in 1956, under the name of The Velours, and they made their first public appearance at the famous Apollo Theatre in New York on a show sponsored by a New York rhythm and blues radio station. This appearance coincided with the release of their first single on the Onyx label. They played gigs in and around New York, including six return visits to the Apollo Theatre inside three months. In 1957 they went on a tour of the States with the then relatively unknown Ray Charles, and also on the tour was the new chart contender O.C.Smith & Bo Diddley. While working the States The Fantastics had three hit records and appeared on many television shows, including “The Alan Freed Show”. They then made their first visit to England in August 1967, for a tour of British ballrooms and having liked it so much returned four months later. In February of this year the boys decided to make Britain their home. On stage The Fantastics always give their audiences what they want – their own preferences in music are for slow ballads with which they can use their harmony techniques. Backing in this country is provided by the British group The House Of Orange , with a line-up of bass, guitar and drums. A few weeks ago The Fantastics had their first record with MGM released. An up-tempo number “Baby Make Your Own Sweet Music”, it was a big success in the States when sung by Jay & The Techniques. So that’s the potted life history of the quartet. And those who have seen them at the New Market will want no encouragement to go and hear them again on Friday. In the words of a punter, The Fantastics are fantastic. Mike Guy – Pop Topics.

22nd October 1968
SCENE AT LOCAL DANCE – £50 FOR BREACH OF THE PEACE
Imposing a fine of £50 with £1 costs on a local man who was involved in a scene at a dance at the New Market Hotel, the Chairman of Bridgwater Borough Magistrates said on Monday “We are not going to have this sort of behaviour in this town”. Roy Anthony Tett (20) pleaded not guilty to committing a breach of the peace. The licensee, Mr. Ernest George Clare told the Court he asked Tett to leave a dance when he was arguing with some other men. He then adopted a nasty attitude and was ejected. Later he returned holding two broken glasses and threatened to use them. When told he was not wanted on the premises again Tett replied; “That’s the worst day’s work you have ever done in your life. I will wreck the place”. Police advised Tett to go home but he returned at 12.15 a.m. anf threatened to bring a gang. Mr. Clare then advised him to go but he retorted “Why should I? You are only being big because the coppers are here”. Asked why he had been holding the broken glasses he said “I was going to use them on someone”. During cross-examination the defendant alleged that the police had committed perjury.

Looks like the Summer Of Love was well and truly over.

Bridgwater’s Time Cycle are the next local group to try for a hit record – and the composers among you are being invited to write material which will be considered for use in this project. The door to fame has been opened by Westside Promotions who now manage Time Cycle. They have offered the boys a four-hour recording session at their new Sound Studios in Shepton Mallet and in turn the group are asking composers to come in on the venture. Time Cycle continue to reach an ever expanding area and have received a mention in the national music weekly “Melody Maker”. (29th October 1968)

This Friday sees The Jimmy Parker Soul Show at the New Market incorporating go-go dancers. And the return of Bristol’s Roman Remains with Gloucester’s Crimson Ice at the Sydenham Rave….. (29th October 1968)

On Saturday The Re-Action (Bridgwater) and Stormy (Yeovil) wind up an Autumn Fayre for St.Mary’s Church Restoration Fund with a dance at the Town Hall. (29th October 1968)

1st November 1968
JIMMY PARKER SOUL SHOW

This looks like it could have been quite a show based on the very small amount of info that I have on the man but I guess that depends on whether I have the right Jimmy Parker or not. Parker, by all accounts, was a saxophone player and not only that, he is particularly well-known for being a member of the J.B.’s, which, for the uninitiated, was James Brown’s band. Under the circumstances I would have expected Parker to have left that group before striking out with his own soul revue but it would appear that this appearance occurred BEFORE he became a Brown session man as his period with “The Hardest Working Man In Showbusiness” was 1971-1975. This means that he would have appeared on such Brown classics as “Get On The Good Foot” and “Hot Pants”. If Parker ran his “Soul Show” with the amount of professional dynamism that Brown did, this would have been a great evening. The promise of “Go-Go Girls” unquestionably added to the spectacle.

Shapwick House Hotel dropping beat nights in favour of a discotheque…New Market discotheque brings The Alabama Shoestring Band. (5th November 1968)

8th November 1968
THE ALABAMA SHOESTRING BAND

Friday night, the US Flat-Top Cat Roadshow(!) are at the New Market Disco and the same evening Sydenham Rave has Bristol’s Lot 39 with Mel Taylor supported by The Thing… Those lovely Flirtations come to the New Market Disco the next Friday (22nd) (12th November 1968)

15th November 1968
U.S. FLAT-TOP CAT ROADSHOW

If anyone has any information whatsoever as to who The Alabama Shoestring Band were I would love to hear from them. They were from Bristol, that much I know, and they had previously made an appearance at the Sydenham Rave back in June of this year. As for Mr Flat Top, this would appear to be another soul revue featuring the aforementioned Mr Top though as to the origins of his real name, no-one is telling though he apparently started out with a band called The Soul System in 1966. This was a band that played the live circuit from 1967-1969 and, like The Traction, were extremely fluid, changing personnel frequently – from a 14-piece band in 1967, to a 12-piece and finally a 9-piece by 1969 with a large roster of musicians, most of which, it would appear, didn’t stay for very long. As well as starring singer US Flattop, the band also featured several guest singers over the years, as well as dancers, including Lorna and Lesley in late 1967, Jacqui and Sue in the summer of 1968 and Leroy and Jacqui in late 1968. And that’s not all. They were billed as U.S. Flat Top’s Cat Roadshow for this gig but also went under a variety of other names such as The Cat Soul Packet, The C-A-T Band and sometimes just The C-A-T. In fact knowing the temporary nature of the group, I’m surprised they made it through to the end of the gig.

3 music groups from the Bridgwater area were due for auditions in Bristol on Sunday in connection with new Harlech Television talent show which is to start next month. They include Bridgwater’s Re-Action and North Petherton’s Flynn. The programme “Tomorrow’s Tops” will be screened in the “Harlech Half Hour” series in early December. (19th November 1968)

22nd November 1968
THE FLIRTATIONS

At this point in the proceedings the New Market was gaining a very healthy reputation as a top soul venue. Terry Clare suggested that this was largely due to the enthusiasm of the Hotel’s regulars, consequently bookings reflected the taste of the venue’s clientele. Having just played The Odeon in Taunton as part of a package tour involving headliners Dave Dee, Dozy, Beaky, Mick & Tich, it made sense for Terry to secure the services of this female vocal trio. The Flirtations were the 3rd artists to have appeared recently that hailed from New York, forming in 1962 as The Gypsies though 3 of the 4 band members, all sisters, were originally from South Carolina (Ernestine, Shirley and Betty Pearce were augmented by Lestine Johnson). They released their debut single in 1964 and achieved a minor hit the year after with “Jerk It”, a No 33 hit on Billboard’s R&B chart. 1965 was also the year that they changed both their record label and their name, releasing “Change My Darkness Into Light”, a well-received Northern Soul number, under “The Flirtations” but that, and subsequent singles, failed to dent the hit parade. Fast forward to 1968, the year of their New Market appearance. Now a trio, they packed their bags and headed to England where they managed to achieve two big breaks. One was a record deal with Parrot Records, a UK label whose star performer was Tom Jones, the second was supporting Tom on his Autumn 1968 European tour. The Flirtations only released one single for Parrot (“Someone Out There” – No 25 in the Netherlands) but they attracted the attention of Deram (home to The Moody Blues, David Bowie and Cat Stevens) and released for the label, one of THE great Northern Soul records, “Nothin But A Heartache”, which became their signature tune. (It’s interesting to note that the song was, despite sounding distinctly American, a British invention – produced in the UK, written by two UK songwriters, Wayne Bickerton & Tony Waddington, and released on a UK label.) The Dutch, for the second time, put the single into their Top 40, but despite getting a lot of airplay in this country, it failed to chart but it did get them a spot on a UK tour with Stevie Wonder & The Foundations (and, of course, a lucrative gig in Bridgwater). They released 6 singles on Deram, achieving minor success in their home country, and by 1972, with two of the original three sisters still in the group, they secured a regular spot as resident background vocalists on the BBC TV series “It’s Cliff Richard”. Not only did the girls continue to record during the 70’s and 80’s, embracing Disco along the way, but in 2007 “Nothin But A Heartache” was used by KFC in one of their advertising campaigns. And what’s more they are still going, releasing the album “Still Sounds Like The Flirtations“ in 2024.

Re-Action disqualified from “Tomorrow’s Tops” on account of being under 16…..On Friday, New Market Disco has This Side Up….same night it will be all happening at the Sydenham Rave with 2.5 Hours of soul from Wiltshire’s Copperpot Band Show (seven-piece). During the evening a “shortest mini” competition will be held…….Re-Action want to try and get on “Opportunity Knocks”…Calling all composers, your Time Cycle songs should be completed within the next two weeks.. (26th November 1968)

29th November 1968
THIS SIDE UP

I was hoping that this might prove to be an excursion from the New Market’s soul concerts, as there was a wilfully obscure band from San Mateo, California called This Way Up formed in 1965, that released a single for Century Records entitled “Lose Yourself”/“Turn Your Head” during the following year. However, having discovered that only 100 copies of this record were pressed, and that by 1967 they had changed their name to The Elastik Band, I think we can safely assume that this is not that This Way Up but quite possibly another local band from the South West. Sadly the Bridgwater Mercury and the redoubtable Mike Guy were not on the case for once, so they remain a mystery.

Bridgwater’s Time Cycle turned recording artistes on Thursday when they went into Westside Studios at Shepton Mallet. And the boys had an interesting number to tape in the form of a song called “Day By Day” which was written primarily for Tom Jones. (2nd December 1968)

Gene Latter & The Detours make their first appearance in the district on Friday when they appear at the New Market Discotheque….Anyone interested in helping to start a folk song club in Bridgwater should see Terry Clare at the New Market Hotel. (2nd December 1968)

6th December 1968
GENE LATTER & THE DETOURS

There is a blog that calls Gene Latter “a nearly man”. Someone whose career spanned several musical genres, releasing a number of singles in the process, but who never seemed to get the big break that he deserved. The problem with this description is that you could use it to describe a whole host of singers which begs the questions, why are some artists destined to be on the periphery and what exactly does it take to get a hit? Sometimes it’s bad luck, sometimes it’s bad management, or maybe it’s simply down to a lack of raw talent and ambition. I’m not sure which of these describe Latter’s fortunes, but the fact is, despite a career that lasted for just over a decade, success eluded him. His real name was Arthur Ford and he was an ex-boxer from Tiger Bay in Cardiff. He had been a member of a local band called The Alley Cats before deciding to seek his fame and fortune in London. Whilst in the Big Smoke he hooked up with a Rhodesian outfit called The Shake Spears who were quite popular in Belgium and then in early 1966 pursued a solo career. He recorded a succession of singles, firstly for Decca (for which, he released a cover version of The Stones “Mother’s Little Helper”) and then for CBS, Spark (including one single with the Liverpudlian band The Detours in 1968) and then finally Parlophone from 1969 to 1971. And that’s pretty much it. Probably his best loved song, recorded for Spark in 1969, is “Sign On The Dotted Line”, a real Northern Soul floor filler and beloved of Mr Paul Weller, a man who unquestionably knows his musical onions. MOJO magazine offers the following regarding this song. “This 1969 gem is a testament to self-actualisation, with the singer promising “I’m the latest, the greatest, I’m the up-to-datest”. Not quite, but a compelling pitch nevertheless.”

Couldn’t get to the latest Rave at Sydenham but I hear from Community Centre warden Roy Brogan that it was very successful and much more like old times after a couple of disappointing raves recently. He reports the management’s pledge to bring better quality groups to the Centre seems to be truly appreciated……The competition to find the young lady wearing the shortest mini was won by Caron Alner who displayed an eye-popping 11 inches above the knee….

Incidentally Roy wishes to scotch talk that it is only a rumour that the fine harmony contingent Orange Bicycle will be appearing at the Christmas Rave. They have definitely been obtained and indeed have agreed to play for one and a half hours. Their booking at the Centre received a line in a recent issue of “Melody Maker”….This Friday’s Rave has the Lion Tamers who recently won a heat on ITV’s “Opportunity Knocks” (10th December 1968)

13th December 1968
THE EQUALS

Terry Clare, who runs the New Market Discotheque in Bridgwater is going all out to make Friday the 13th of December the luckiest day of the year for pop fans in this area. For Terry has been able to book that chart-topping group The Equals, who topped the Hit Parade with the song “Baby Come Back”. This is the most exciting Bridgwater dance deal of 1968 and it is to be hoped that everyone will turn out in force to give this established aggregation the welcome they deserve. The Equals were formed three years ago by John Hall and Eddie Grant while they were still attending school. They invited the Gordon twins, namely Derv and Lincoln, to join them and to complete the unit they recruited fellow school chum Pat Lloyd. After playing around various dance halls in North London for a year, the boys were signed to President Records and had their first release “I Won’t Be There ” in March 1967. It failed to register in the charts but was an instant smash in Germany and reached the Top 10. The group were immediately flown to Germany for television and tour dates. They returned to England for their second release “Hold Me Closer”/”Baby Come Back” which was followed by “Give Love A Try”. In January of this year they issued “I Get So Excited” which at last broke the ice and reached No 42 in the Top 50. Meanwhile, they were also scoring in countries like Belgium, Holland and France. Then came an extraordinary sequence of events which resulted in their number one achievement. President issued their first E.P., “Baby Come Back”. After only three weeks of release, the E.P. appeared in the singles list and shopkeepers, checking back the catalogue, found that “Baby” was available on an old 45-er and at once re-ordered it. Within six weeks a year-old single was a chart topper in the British charts and The Equals had arrived. And on Friday, the lads arrive at the New Market Disco. This is an occasion you won’t want to miss, so do all you can to be there. It promises to be a great evening.

Mike Guy’s resume is as accurate as ever but it doesn’t tell the full story. After “Baby Come Back” took The Equals to the top of the hit parade, they achieved success with a couple of other singles post-New Market with “Viva Bobby Joe” in 1969 and the funky “Black Skin Blue-Eyed Boys” in 1970 both reaching the Top 10. The latter single showed that there was more to this band than just beat music as it displayed a social and political conscience that was also prevalent in some of their other songs (most notably Eddie Grant’s excellent “Police On My Back” from their 2nd album “Explosion”). Grant was also partially responsible for the band’s vibrant image with their colourful attire pre-dating the Glam Rock era. In fact Grant would occasionally wear a ladies wig on stage and turned up for his New Market date with his hair bleached blonde. Two unfortunate incidents involving Grant’s health sadly scuppered the band. Firstly, whilst touring in Germany in 1969 the group were involved in a serious car accident which injured all 5 band members though Grant was the worst affected. This ended his live involvement but he continued to write material for them. Two years later Grant then suffered a collapsed lung and a heart infection and after convalescing in Guyana, he left the group to concentrate on a solo career. The band split up for good in 1979 and even though they reformed three years later, they are most remembered for their late 60’s/early 70’s material and for being the band that launched Eddy Grant’s career. Incidentally, there is a little bit of what could be called New Market synchronicity regarding this appearance. Ironically the man who recommended them to their record company, President Records, was a singer who had played the venue just one week earlier, Eddie Grant’s neighbour, Gene Latter.

Bridgwater YMCA present The Midrod Ends for their Christmas dance on Thursday. Following night it’s Sydenham’s Christmas Rave with the Orange Bicycle….No New Market Disco concert this Friday but it’ll be all happening there next week with Time Cycle (Christmas Eve), Mike Henderson’s discotheque special (Boxing Day) and yet another appearance by The Fantastics (27th)…. (17th December 1968)

Time Cycle had to cancel a recording session at Shepton Mallet because Westside Sound Studio’s new equipment had blown two fuses…. (17th December 1968)

20th December 1968
Orange Bicycle

27th December 1968
The Fantastics