The Artists – 1971

1971 began quietly for the New Market whilst the Sydenham Community Centre continues to tamper with it’s presentation.

Organisers of the Psyco Discotheque, Sydenham Community Centre, which has been struggling for survival lately on Friday’s due to low attendances, are considering if it would be possible to switch it to Wednesday’s following the excellent support for the Christmas dance. (5th January 1971)

Rumours that Somerset’s top contemporary band, Marsupilami would be splitting up were denied this week by their road manager Mike Dennison of Bridgwater. But he confirmed that the outfit had monetary problems and would have to sell their transit van. The release of their second LP has now been set for 26th February by Transatlantic. This is some six weeks later than originally intended. “Pop Topics” hopes to receive an advance copy of the record to give readers a track by track review. (12th January 1971)

I bet Led Zeppelin didn’t have these problems…. In fact, after the release of their 2nd album on Transatlantic, “Arena”, the band did in fact split sometime during the course of the year.

Radio 1 Club comes from the Camelot Club, Taunton (today) and is compered by Noel Edmonds (high time the Club visited the New Market Discotheque again)… (19th January 1971)

Burtle has become the new headquarters of “Band Of Mental Breakdown” (aka “BOMB”) a fully professional outfit from Nottingham who hope to release their first single within the next few months. Already the boys have approached the manager of Classic Cinema, Bridgwater, over the question of doing a Sunday afternoon gig there before the summer. (26th January 1971)

And talking of Bridgwater’s Classic Cinema………………………..

Plans for holding another concert at the Classic Cinema, Bridgwater on a Sunday afternoon are being formulated by Miss Doreen Jeffree, manager. Following the success of the Marsupilami shows, Miss Jeffree now wants to run a concert featuring groups solely from the Bridgwater area. The date, provisionally is 28th March. (26th January 1971)

2nd February 1971
WILL THE CLUBS TAKE OVER?
That’s the question I ask this week with the news that Bridgwater Entertainments Ltd,. once the main organisation for beat hops in this town are to restart their Blake Hall dances – only this time aiming at older audiences with modern ballroom dances. It’s just one indication, not only in Bridgwater but in many parts of the country, of a trend towards venues offering a blend of sophisticated pop and night club entertainment. Remember there is a large section of the public not catered for by the present scene. They are the people who grew up in the rock and roll and early Beatles era, who retain an interest in pop music and demand a share of it’s entertainment value, but who would not feel at home at a discotheque operating for teenagers. The swing towards the new kind of club that seems to be evolving has been further accelerated by the chain reaction to progressive music. When the underground groups and their open-air festivals arrived, it killed the conventional pop dance teeny-bopper group, disc idol outlook. As a result, audiences split. The student population, in the main, committed itself to hard rock while the rest remained silent or stayed faithful to the commercial delights of the Top Ten, but with a vastly depleted number of well-known straight pop groups at their disposal. Dance hall operators, especially the smaller ones, were unable to afford many of the big heavy bands because of the high prices they asked, but would have to admit, anyway, that progressive music is ideally more conducive to the sit-down setting of theatres and outdoor stages. So many of them turned their businesses to discotheques, although the trouble here was that so many started up that attendance figures became diffluent. Caught in this type of situation, the dance people – particularly those with bar licences – may very well feel that one way out is to acknowledge the call by people in the 20’s and 30’s age range for “quality pop” supplied by the many cabaret and showband outfits in existence. Already this has begun to happen in Bridgwater. And now, Bridgwater Entertainments Ltd. are to try an evening with Weston-Super-Mare’s seven-piece Raymond Kaye Orchestra this coming Friday. If it goes down favourably, more will follow. I’m not expecting an overnight move to this form of entertainment at current pop venues, but I have a suspicion that teenagers are in danger of losing a fair proportion of the dance market in time to older age groups if present circumstances prevail.

An astute, interesting observation by Mike Guy regarding the changing face of popular music and the problems surrounding local promoters attempts to keep up with it. My only comment is that I cannot imagine that those “who grew up in the rock and roll and early Beatles era,” would be pacified by the smooth sounds of the “Raymond Kaye Orchestra” and modern ballroom dancing. That was the type of music that belonged to the generation that pre-dated Rock N’Roll, with the likes of Little Richard and Elvis providing a vibrant and exciting alternative for teenagers who were desperate to find the antidote to what could be found in their parents record collections.

Two groups are joining forces to present a concert of hard rock music in aid of charity at Bridgwater’s Classic Theatre – scene of the successful Marsupilami gigs last year. The show, which is the first pop charity event of it’s kind to take place in the town, has been fixed for Sunday 28th February. Sharing the bill will be local group Nulli Secundus and Hook, a commercial rock trio from Taunton. (9th February 1971)

Live pop entertainment in Bridgwater looks up again, at least for the moment, with the approach of St. Valentine’s Day. Two units who were popular with audiences in the borough during the Christmas and New Year period, have been re-booked for dances this week. Unfortunately, the dates clash so you’ll have to choose on Friday between London pop recording group Macaroni at the Psyco Discotheque, Sydenham Community Centre, and Private Number, an all-coloured soul aggregation from Bristol who have again been secured by Wellworthy Carnival Club for a dance at the Town Hall. (9th February 1971)

There’s “live” entertainment for the second week in succession at the Psyco Discotheque, Bridgwater. After Macaroni, scheduled for last week, they bring back Portrait, all-time favourites at the venue next to Orange Bicycle, this Friday. And Penny Farthing recording group Heatwave have already been booked for Psyco for late March…… (16th February 1971)

PORTRAIT
19th February 1971

For an entertaining commercial pop group, Portrait take some beating. Versatility, drive, stage presence – this London outfit whose single “Tokaido Line” is due for release on Friday have all the necessary qualities that go to make up a popular act. Appearing at the Psyco discotheque, Sydenham Community Centre, they performed many of the current chart hits and captured with incredible accuracy the particular sound of each record, whether it be the peculiar vibrato of Marc Bolan on “Ride A White Swan” or the electric mandolin appeal of McGuinness Flint’s “When I’m Dead And Gone”. The amiable crew, who were paying a return visit to Psyco by request, featured powerful close harmonies and really potent instrumentation. Their new disc was included and they ended with a no-holds-barred medley of old rockers, much to the delight of the audience. One is left wondering why this unit have yet to score a disc success. But maybe it will come their way with “Tokaido Line”, provided it gets sufficient air plays. At least one thing is certain right now, though – Portrait already are a resounding hit in Bridgwater.

The title of this extremely rare single was actually “Tokaido Lines” and it would appear that it was the band’s only single, released on Pye Records. In case you are wondering, The Tōkaidō Main Line is one of the most important railway corridors in Japan, connecting the major cities of Tokyo, and Kobe via Shizuoka, Nagoya, Kyoto and Osaka.  

After two or three months of record nights only, the New Market Discotheque, Bridgwater, is once more securing big group attractions for it’s Saturday night dances – beginning this week with the return of Hot Chocolate. When the outfit first came to the New Market last September, their “Love Is Life” disc was heading towards the Top Ten. Now, the return visit could very well herald smash number two for them as it comes right on the heels of the release of their follow-up, another catchy song called “You Could Have Been A Lady”. Of course, since we last saw them, Hot Chocolate have won further fame through their two songwriter members. Mary Hopkin scored a hit when she recorded one of their distinctive shuffle beat ditties, “Think About Your Children”, and the same happened with Julie Felix, who cut “Heaven Is Here”. Hot Chocolate insist that their musical boundaries extend beyond the realms of simple reggae, so their gig on Saturday should have wide audience appeal. Certainly they are one of the most happy-go-lucky bands at the moment and no doubt, their special brand of music will again prove intoxicating for patrons.

Hot Chocolate
20th February 1971

Hot Chocolate were a bit disappointed that they did not get a larger crowd at The New Market Discotheque, Bridgwater, after the tremendous support and reception accorded them last time. This was somewhat reflected in their act, but the inclusion of their two singles and soul repertoire was enjoyed.

Promising attendance for Macaroni at Bridgwater’s Community Centre Psyco discotheque means a prospect of more regular group bookings there again…..(23rd February 1971)

I wish they would make up their minds…………………………….

Pop concert scheduled for Sunday 28th March at Bridgwater’s Classic Theatre has been postponed…. Marsupilami had their eagerly awaited Transatlantic Album “Arena” issued on Friday….. (2nd March 1971)

9th March 1971
Bridgwater’s hard-working carnival clubs continue to offer pop fans an attractive deal with “live” dances featuring well-known groups. And on Friday, the Commercial Club do it again by presenting The Troggs at the Blake Hall. This follows hot on the heels of the club’s successful dance at the same ballroom starring “Tobacco Road” boys The Nashville Teens and is certain to meet with equally good public response. A spokesman for the club tells me that The Troggs will be on stage for at least an hour doing an uninterrupted slot. The Troggs are an Andover group who sprung to fame in the mid-1960’s with the insinuating “Wild Thing”, which went to number one in this country and abroad. About the time the record broke, the unit – who are led by vocalist Reg Presley – came to Bridgwater Town Hall for a Top 20 Club gig. A number of other smashes followed, including “With A Girl Like You” , “I Can’t Control Myself” and “Love Is All Around” and their most recent single was “The Raver”, a disc often requested by local discotheque-goers. Despite successive music trends, The Troggs have managed to adapt themselves to the times, with few changes in their line-up. In addition to regularly cutting discs, the group play at niteries all over the country and also make frequent Radio 1 broadcasts (they are on the J.Y. show this week)

Pity The Troggs were in Australia following up the success of two hit records and so couldn’t fulfil their Commercial Carnival Club engagement at Blake Hall….

So after the big introduction, sadly The Troggs turn out to be a no-show. It would appear that going “down under” was more important than playing a gig somewhere in Somerset……..

23rd March 1971
IT’S AN ALL-HAPPENING WEEK
Van Der Graaf Generator – that much respected British contemporary rock outfit, reggae hit-makers Bob and Marcia, of “Young, Gifted And Black” fame, and London-based pop recording group Heatwave: these are the acts all scheduled for gigs in Bridgwater this week. Most ambitious of the bookings is that involving Van Der Graaf Generator, who have been secured by the Students Guild of Bridgwater Technical College for their dance at Blake Hall on Friday. Described as one of John Peel’s all-time favourite groups, the unit consist of Peter Hammill (lead vocals and guitar), David Jackson (brass, woodwind and vocals), Keith Ellis (bass), Hugh Banton (organ, piano and vocals) and Guy Evans (drums). They record for the forward-looking Charisma label and their newest album, “H to He, Who Am The Only One”, was highly praised when it came out a few months ago. The dance – a must for all true heavies – runs from 8 p.m. to one o’clock in the morning. The same night, fans of more commercial pop will be well catered for at The Psyco Discotheque, Sydenham Community Centre, when Heatwave appear. These boys have a single released on Penny Farthing called “Sister Simon (Funny Man)”. Bob and Marcia come to The New Market Discotheque on Saturday night. They need no introduction to lovers of reggae as their easy-going vocal harmony style has endeared them to thousands of fans across the country, although in their native West Indies they are best known as solo stars – Bob Andy and Marcia Griffiths. So….this is what might be called well-balanced fare – and if only the dances had been more spaced out it would have been even better.

26th March 1971
HEATWAVE

It’s typical, you wait several months for some decent live action and then 3 gigs all happen at the same time though of the three, this band certainly enjoyed the least acclaim. Not to be confused with the Rod Temperton version of Heatwave – the band that gave us “Boogie Nights” – this London-based 5-piece version were formed in 1969 out of the ashes of a group called The Moving Targets. They were a “progressive pop harmony group, playing cover versions of the popular artists of the day“. An entertainment agency signed them up and they began supporting various professional bands and with their live act occasionally including a pyrotechnic display of fire eating by one of the band members, unsurprisingly they gained a reputation of sorts. But it wasn’t until the acquisition of a new lead vocalist (who just happened to be the former stage manager of a West End strip club) that they were able to obtain more lucrative opportunities. The goal of course was to secure a recording contract though prior to doing so they did succeed in appearing on a selection of BBC radio performances, appearing on shows hosted by Terry Wogan, Kenny Everett, Dave Lee Travis and Jimmy Young amongst others. Finally signed to Penny Farthing Records, a label owned by Larry Page, the man who gave us that no-show band The Troggs, to my knowledge they released just the one single (on 13th November 1970) entitled “Sister Simon (Funny Man)” with “Rastus Ravel (Is A Mean Old Man)” on it’s flip side. The single failed to chart though the “B”-side, which boasts the talents of both Rick Wakeman on piano and Doris Troy on backing vocals, seems to have gained more notoriety than it’s A-side.

26th March 1971
VAN DER GRAAF GENERATOR

Methinks that the appearance of this band at the Blake Hall was something of a coup for Bridgwater. They were a perfect example of the “progressive rock” of the period though in many ways were too much on the margins to ever become anything more than a popular band with a cult following. Formed in Manchester University by Chris Judge-Smith around the songwriting skills of fellow student Peter Hammill, they were the first ever group to be signed to the ultra-progressive Charisma Records label. According to Smith, the band initially played as a duo, with Smith occasionally using a typewriter as a percussion instrument. However, with the addition of Nick Pearne on organ their first gig as a three-piece was in the student union, which lasted five minutes before the group’s amplifiers blew up. The trio recorded a demo tape that was heavily influenced by jazz and blues, but after Mercury Records offered them a contract, Pearne left to concentrate on his studies, and was subsequently replaced by the classically trained keyboard player Hugh Banton before expanding still further to a 5-piece. Whilst a trio, their first single, 1969’s “People You Were Going To”, came out on the Polydor label but despite receiving favourable reviews it was hastily withdrawn by Mercury as the band were still signed to that label. At this point, Van Dr Graaf’s future looked a little bleak as founder member Smith left, the band had their equipment stolen, and Mercury refused to extricate them from their contract. Having obtained Tony Stratton-Smith as their manager, he stubbornly would not allow the group to record for the label and in the resulting stalemate, the group broke up, but not before they had recorded a session for John Peel and had also appeared at The Royal Albert Hall as support to The Jimi Hendrix Experience. In 1969, Hammill began playing solo and eventually went into Trident Studios during the summer to record an album that featured the other band members as session musicians. It was due to this occurrence that an opportunity to wrestle themselves away from Mercury appeared as the album, “The Aerosol Grey Machine”, released under the band name, came out on Mercury under the proviso that it would be their one and only release for that company. Issued in the USA only, it was badly promoted, and consequently sank without trace, but with the band now having re-formed, and with Mercury now out of the way, it allowed them to sign to Stratton-Smith’s newly formed Charisma label. A new line-up appeared, with saxophonist David Jackson an important acquisition and in 1970 “The Least We Can Do Is Wave To Each Other”, their second album was issued. It was successful enough to reach the Top 50 in the UK with the music paper Melody Maker proclaiming “If all our groups were as together as this, the British music scene would improve ten-fold.”. At the point of appearing at the Blake Hall, a third album “H to He Who Am The Only One” had been issued in December 1970, but due to it’s lack of commerciality, failed to sell as well as it’s predecessor. Bridgwater witnessed what fans would probably regard as the “classic” Van Der Graaf line up of Hammill, Jackson, keyboard player Hugh Banton and Guy Evans on drums and after the release of “Pawn Hearts” in 1972, an album that featured, on one side, the 23-minute opus “A Plague Of Lighthouse Keepers”, a part of which featured the band overdubbed no less than 16 times, Van Der Graaf’s reputation as a dense, hugely conceptual, and unpredictable, band with an instrumentation (vocals, sax, organ and drums) unlike any other, was sealed.

Bob and Marcia come to The New Market Discotheque on Saturday night. They need no introduction to lovers of reggae as their easy-going vocal harmony style has endeared them to thousands of fans across the country, although in their native West Indies they are best known as solo stars – Bob Andy and Marcia Griffiths.

27th March 1971
BOB & MARCIA

Bob & Marcia were probably better known individually as they were as a duo as their collaboration only lasted from 1970 to 1974, a total of just 5 years. Bob Andy (born Keith Anderson in Kingston, Jamaica) was one of the founder members of The Paragons, the vocal group that gave us the original version of “The Tide Is High”, a hit for Blondie in 1980. He obtained his first solo hit in 1967 and also went on to become a songwriter for other people, including Ken Boothe and, perhaps not too surprisingly, Marcia Griffiths. Her career began in 1964, performing on stage with Byron Lee & His Dragonaires. From her very early career, she was earmarked as part of a vocal duo, recording songs with Tony Gregory, Jeff Dixon and even Bob Marley (on “Oh My Darling”). It was during this period that she first recorded with Bob Andy and the two were in a relationship for several years, though prior to forming a permanent musical partnership with him, he wrote a couple of hits (“Truly” and “Melody Life”) that helped to cement Marcia’s solo reputation. As a duo, Bob & Marcia enjoyed two major hits in the UK, though the most well-known, and consequently most successful, was Nina Simone’s “Young, Gifted & Black” which reached No 5 in 1970 though “Pied Piper” got to number 11 the following year and between those two singles, the duo spent 25 weeks in the singles charts. Griffiths went on to achieve notoriety as a member of The I-Threes, Bob Marley’s female backing trio and also succeeded in recording the best selling single of all time by a female reggae singer. 1979’s “Electric Boogie”, written for her by Bunny Wailer was released in December 1982, held the Jamaican Christmas Number One spot and is strongly associated with the “Electric Slide”, a line dance that has since become a celebratory staple. Andy meanwhile, became an actor during the 80’s, and after moving to London, recorded a dub album with The Mad Professor. Andy sadly died at the age of 75 in 2020 but both he and Marcia have been awarded the Jamaican Order of Distinction for their contribution to music.

Formation of a folk club in Bridgwater moves one step nearer with the news that a Ceilidh is to be held at The Blake Arms, Penel Orlieu, on Saturday. Taking part will be John Kirkpatrick, Alan Wagstaffe and Taffy Thomas, the Youth Camp group who specialise in Ceilidh for the under 30’s, although all seem to enjoy them. Liz Neyes, one of the organisers, says this is probably the first time such a do has been held in Bridgwater band everyone is hoping that as many people as possible will go along. There will be folk music and dance for four hours and also taking part will be The West Somerset Morris Men….(30th March 1971)

This piece, printed under the title “Come All Ye”, actually turned out to be of more interest than first meets the eye. The reason was the inclusion of the name John Kirkpatrick, one of the three musicians who performed at the Blake Arms Ceilidh. Born in Chiswick, he joined the Hammersmith Morris Men in 1959 as an accordion player. In 1972 he teamed up with ex-Fairport Convention band member Ashley Hutchings and others on the album “Morris On” and during the same year recorded his first solo album “Jump At The Sun”, a record that included Richard Thompson on guitar. Since then, Kirkpatrick has effectively become one of the leading exponents of the button accordion in Britain and his CV makes for impressive reading. He appeared on the exemplary Albion Country Band album “Battle Of The Field” alongside Hutchings, Martin Carthy and another ex-Fairport musician Simon Nicol and in 1977, again alongside Carthy, became a member of Steeleye Span for two albums. He joined Richard Thompson’s band in 1975 and continued to appear regularly on his albums for the next 20 years. As a session musician he has appeared with such eclectic artists as Pere Ubu, Vivian Stanshall, Gerry Rafferty, Maddy Prior and others and was also a founder member (once more with the wonderful Carthy) of “Brass Monkey”, the first folk group to incorporate brass instruments into their line-up. In 2009, he became a minor TV celebrity when he appeared in the BBC series, “Victorian Farm”, which was set in Acton Scott in Shropshire, performing traditional country songs. Something of a folk legend I would say…..

BOMB, the aggregation from Nottingham, who moved down to the West Country and established a base in the Burtle area, have called it a day and gone home…. (30th March 1971)

If BOMB honestly thought that by moving to Burtle it would thrust them into a thriving new music scene, they were obviously horribly mis-informed.

20th April 1971
News that a group of young Taunton Technical College students are planning to present top national progressive bands once a month throughout the year at the Classic, Taunton has me seething. Not that I don’t wish them every success with their venture, but here’s another case of Taunton trying to beat Bridgwater at it’s own game. Three heavy rock concerts have been held at our Classic and by rights we should now have launched a project similar to that which is being formulated by these adventurous students at Taunton. As it is, no more such concerts are on the horizon at the theatre. And it isn’t for want of encouragement from the Classic management who are all for periodic rock and pop shows on Sunday afternoons – provided they are well supported. None of the three concerts attracted what one could call large gatherings, although those present undoubtedly enjoyed themselves. And when the management offered local groups a spot on a fourth concert, hardly anyone came forward so the event had to be cancelled. The trouble seems to be twofold. Too many fans are being too apathetic and not realising the full potential of rock at the Classic – and that goes for some of the groups as well. Secondly, the previous concerts – while featuring talented Somerset units – lacked bill-topping national “name” attractions. The Taunton Technical College students are after acts like the Groundhogs and Savoy Brown, supported by West Country groups – and this is the way to go about things. Surely there is somebody in or around Bridgwater who wouldn’t mind spending a bit of cash and hiring the Classic for a few hours on a Sunday afternoon to experiment with a similar format? If no one takes up the challenge, there will be the embarrassment of seeing Bridgwater fans trekking to Taunton for the type of entertainment which could be available regularly in their home town.

Radio 1 act Orange Air impressed at Bridgwater’s Psyco Discotheque (Sydenham Community Centre). Their selection of quality pop hits past and present – delivered in tight harmony style – was made to measure for the audience. Among the numbers were many from The Beach Boys repertoire, plus an excellent version of Fifth Dimension’s “Carpet Man”. Several entertaining rock and roll medleys were also included. (20th April 1971)

A YouTube video of Orange Air performing a version of “Good Vibrations” exists, if one is inclined to check it out……

London-based pop unit Macaroni return to the Psyco Discotheque on Friday….(27th April 1971)

After a long run of record only nights only, Bridgwater Y.M.C.A.’s New Scene Discotheque has a “live” group evening on Thursday. Coming are Madrigal, a five-piece who record for Decca and have a new 45-er on sale entitled “Blue Eyes In Paradise” (27th April 1971)

Hit parading Fantastics are the same act that appeared on several occasions at the New Market, and The Sweet have played at Sydenham Community Centre’s Psyco Disco. You see them first at Bridgwater.

I’m not entirely certain what the above comment meant as it was tagged on to the end of the paragraph about Madrigal playing the YMCA. It almost suggests that these were future attractions at the YM but neither band played that venue, at least not to my knowledge. So, this begs the question, exactly WHEN did The Sweet play the Sydenham Community Centre as I cannot find any evidence that they did so. And incidentally talking of all things glam……………………….

28th April 1971
SLADE

Bridgwater Technical College and it’s social secretary John Buxton staged a quick follow-up dance last week to their evening with Van Der Graaf Generator. But perhaps it was too quick because the event, at The New Market Discotheque was very poorly attended. Appearing were Slade, the Wolverhampton group who have gone heavy but are still trying to fight off that skinhead image. The outfit may be one of the most popular acts on the club circuit right now, but I found their amplification intolerably loud. Included in their gig was a preview of their next disc, the first maxi-single from Polydor, which will be released shortly. Top side is a rock and roll number entitled “Get Down And Get With It”, coupled with “Do You Want Me” and “Gospel According To Rasputin”. All three tracks are Slade compositions.

Well here was an opportunity lost…. The last time we saw these guys was way back on 6th September 1969 when they were a bunch of ruthless skinheads called Ambrose Slade. Fast forward almost 2 years and having shortened their name and grown their hair, they are on the verge of UK mega stardom, and Bridgwater can’t be bothered to turn out in their masses to see them. Very much a question of the right booking but in the wrong town. Now managed by Chas Chandler, he had been with the band for at least two years without discovering a winning formula when he suggested that they release a cover version of a Little Richard song called “Get Down And Get With It” (“released shortly” as Mike Guy suggests.) The single reached No 16 in August 1971 and Slade were on their way though it was only after Chandler suggested that they write their own material that they hit paydirt. The result was “Cuz I Love You”, written by Jim Lea and Dave Hill and by October/November it was at No.1. The rest, as they say is history……. Even though it’s pleasing to know that Bridgwater was there at the genesis of a band who went on to dominate the singles charts for another 2 years, how ironic that not many people were there to witness it. Incidentally, the story goes that Mike Guy wasn’t the only one who found Slade’s amplification intolerable as Terry Clare’s dad Ernie pulled the plug on them for being too loud!

Another big Saturday night dance is being presented at Bridgwater’s New Market Discotheque this week, featuring close harmony soul group The Showstoppers of “Ain’t Nothing But A Houseparty” fame. Their visit coincides with the release on Beacon of a new single, “Reach In The Goody Bag”, which they introduced on an edition of the Radio 1 Club last week and which captures perfectly their exciting vocal style. The Showstoppers hail from Philadelphia and consist of two sets of brothers, Timmy and Earl Smith, and Laddie and Alec Burke. No strangers to this country, the coloured group have set up temporary residency in Britain for six months to tour clubs and ballrooms. Patrons are advised to arrive at the New Market early because people from a wide area of the county are expected to attend. The Showstoppers will almost certainly be including their latest record as well as performing many other disco favourites and, of course, “Houseparty” – which stops the show every time!

1st May 1971
THE SHOWSTOPPERS

Formed in Philadelphia in 1967 and featuring two sets of brothers, one of the sibling pairings, Edward and Vladimir Burke (aka “Alex” and “Laddie” respectively) were the oldest brothers of “The King Of Soul” Solomon Burke. Solomon had a hand in their early development and they signed to a small label called Showtime Records. In 1967 they released the song that became their signature tune, though “Ain’t Nothin But A Houseparty” only achieved regional success though it shifted enough copies to get into the bottom regions of the Billboard Top 120. In January 1968, an Antiguan called Milton Samuel, founded a label called Beacon Records which was situated in the unlikely location of Willesden. London. (Samuel went on to become the founder of the Bank of Antigua and was also Antigua & Barbuda’s UK ambassador). He purchased the UK leasing rights of the record for the princely sum of £30 and in February 1968 it was duly released on his own label in the UK. One month after it’s release, Samuel, and an Apple Records employee called Mike Berry, tried to strike a deal with The Beatles record label but were unable to get it signed off by any of the Fab Four so Samuel had to make alternative arrangements. In March 1968, the single had reached No 38 in the UK hit parade so Samuel arranged for the band to come over to the UK for a promotional tour, post haste. Three appearances on “Top Of The Pops” helped to keep the record afloat but it was by being played in heavy rotation at Northern Soul clubs such as The Twisted Wheel that the record was given the boost it needed and it reached it’s highest position of No 11 in May of that year. Another minor hit was achieved in 1968, (“Eeny Meeny” reached No 33 in November) but “Houseparty” is the song that made their name and in 1971, it was re-issued (and given a “disco” make-over) which would explain the reason for this particular tour and their appearance at the New Market. They eventually disbanded in 1972…

Showstoppers dance at The New Market Discotheque, Bridgwater, a success….

Chairmen Of The Board may be coming to Bridgwater’s New Market Discotheque, but not on 26th May as reported in the music press. The hit American group were nearly set for the venue on that date, doubling with a Bristol club, but arrangements fell through at the Bristol end. There is now, however, a strong possibility that Chairmen of The Board may play at the New Market slightly later on. More details should be available shortly…. (4th May 1971)

Westside Music Centre of Street are to open up in Bridgwater at 1, Binford Place, probably in the early part of next month. The premises may be opened by a big name in the pop world.… (4th May 1971)

Bad luck dogged the first group night for a long while at the New Scene Disco, Bridgwater, YMCA on Thursday. Madrigal were unable to make it because of vehicle breakdowns en route, but Taunton’s Phoenix Press stepped in at the last minute. I was impressed with their full-sounding instrumentation and strong vocals. Among the numbers they featured were “Sunshine Help Me” by Spooky Tooth, “Birthday” from The Beatles, and The Beach Boys “Mama Says”, with it’s effective pure harmonies. The attendance was good and there must be hopes that the Discotheque will book more groups….(4th May 1971)

Jimson Weed play their first home town date in a long while this week when they appear at Blake Hall on Friday…. (11th May 1971)

A Bridgwater discotheque which caters solely for people over the age of 21 is to conduct an experiment on Saturday. It’s the 23 Crown Disco at Sydenham Community Centre which, for the first time, will present a “live” group attraction. Appearing will be Portrait, London-based recording artistes who have become firm favourites with the Centre’s younger pop patrons at the Friday night Psyco dances. (18th May 1971)

Jimson Weed return to Sydenham Community Centre on Friday, undertaking their first gig at the Psyco Discotheque since they changed their name to Time Cycle. (18th May 1971)

Bridgwater group SOS will be having an early night on Thursday in readiness for their 48-hour sponsored marathon. The outfit are hoping to raise as much money as possible for improvements and equipment at the town’s hospitals and the financial result will determine which hospital project can benefit. (25th May 1971)

The first 23 Crowd Discotheque to present a group was outstandingly successful. Appearing at Sydenham Community Centre – home of the Disco – were Portrait, whose versatility once again impressed. They captured with uncanny accuracy, the sound of hits like “Baby Jump”, “Black Night” and “All Right Now” and their medley of Rolling Stones’ winners and other oldies kept everyone dancing vigorously….(1st June 1971)

1st June 1971
IT’S CHAIRMAN OF THE BOARD
Famed American hit recording group Chairman Of The Board – whose fourth single, “Pay To The Piper” is currently in the charts – open a one-nighter tour of British clubs and ballrooms at Bridgwater’s New Market Discotheque next Monday. In pulling off this scoop, the New Market offers local pop fans the biggest name attraction to visit the town in a long while. And it is stressed that there will be a special opening time of 7 pm, with the group going on stage at 8.30. Chairman Of the Board belong to the legendary Holland-Dozier-Holland combine, the ex-Tamla Motown songwriters and record producers who started their own label, Invictus, last year and they have had three previous world-wide smashes in “Give Me Just A Little More Time”, “You’ve Got Me Dangling On A String” and “Everything’s Tuesday”. The Detroit foursome is made up of General Johnson, Harrison Kennedy, Dan Woods and Eddie Custis. General Johnson, who sang Chairman’s initial chart entrant, “Time”, can be traced back to an outfit called The Showmen, who recorded a rock and roll classic written by the General, “Rock And Roll Is Here To Stay”. He started singing in church as a youngster in Norfolk, Virginia, and grew up with teenage groups, the travails of showbusiness finally leading him to Holland-Dozier-Holland and a new beginning for his career. Harrison Kennedy, a Canadian, joined Chairman from the Toronto cast of “Hair” and an 11-piece band in which he played. Brian Holland saw him perform and auditioned him for Invictus, with the result that he soon found himself rehearsing with General, Eddie and Danny. Dan Woods came from the church and school choirs of his youth to win talent contests in high school. Home brief stints with dance bands led him to a short-lived solo career, but he attracted the attention of H.D.H. and quickly became a Board member. Eddie Custis comes from a background of a good deal of working as a night club singer. “I wouldn’t really say I was a single artiste before joining Chairmen” he says, “but I worked where I enjoyed the music so I could learn at the same time. Therefore, my jazz background is pretty strong and it helped me get recognition from Holland-Dozier-Holland”. “What Chairmen are doing is a new thing” he proclaims. “No group has mastered what we are trying to master. It seems as if everyone is doing a twangy guitar type of thing, while we are working towards a movement which is more classy”. So….it’s a big night out on Monday and it almost goes without saying that you should arrive early. Chairman Of The Board bare assured of a rousing welcome from many of their fans living in the area who will be only too pleased to say “Welcome to Bridgwater!”

Yet another big build up for a band currently riding high in the charts. But it would appear that this particular board meeting was about to get cancelled, much to the annoyance of the patrons and owner of the venue. Meanwhile, over at the Sydenham Community Centre….

Following the very favourable reaction to the first “live” group night at the 23 Crowd Discotheque, Sydenham Community Centre, Bridgwater, there is to be another on Saturday. Coming are London-based Desperate Dan, who used to be called Spencer Mac and recorded under the name a song for Penny Farthing Records titled “Better By You – Better Than Me”. They can also be seen at the Centre’s Psyco Disco the previous night…. (8th June 1971)

12th June 1971
SPENCER MAC/DESPERATE DAN

This band were seemingly better known as Spencer Mac than they were under their new moniker, if only because they released a couple of singles under that name, whereas Desperate Dan are absent from the singles lists. The two singles I’ve managed to find, both released on Penny Farthing records, are “Blues Up In Down Town” from 1970 (with “Ka Ka Kabya Mow Mow” on the “B”-side), and the aforementioned “Better By You, Better Than Me” which was a pretty decent cover version of the Spooky Tooth song issued on their “Spooky Two” album.

Desperate Dan proved all-rounders when they arrived on two successive nights at Sydenham Community Centre. Among their valid cover versions of hits were “My Brother Jake”, “Malt And Barley Blues” and “No Matter What”.

15th June 1971
THE DISAPPOINTED FANS
Non-appearance of The Chairman Of The Board at Bridgwater’s New Market Discotheque last week was a bitter disappointment for fans, some of whom had come from outside the town to seethe hit American group in action. Chairmen were to have done a double booking on Monday, giving an early show at Bridgwater and then going on to the Chelsea Village Discotheque, Bournemouth. But Terry Clare, manager of the New Market Disco, received a telegram that day from the group’s London agency saying the Bridgwater visit was off due to a contractual misunderstanding. Patrons made the best of things with a disco dance at a reduced admission price. Terry told me that the cancellation was no fault of the New Market management. He also was obviously disappointed. And the Agency concerned – M.A.M – apologised in their telegram for the gig having to be called off, stating that they would fix up an appearance by another named American artiste as soon as possible. Now there’s nothing new, of course, about this business of well-known groups who fail to appear on billed gigs for one reason or another. In fact, it’s happening all the time throughout the country. What does concern me is that innocent parties suffer and that the incident does nothing to further the name of the “live” entertainment industry, at a time when it is being hit hardest by dances using recorded music.

Call me a cynic, but doing two gigs in one night is bad enough but when one is in Somerset and the other is 81 miles away and on the Dorset coast, this does seem a tad ambitious. I’m guessing the proverbial plug was pulled as the agency realised their folly and the Bournemouth gig was more lucrative.

Bridgwater’s Bath Bridge Carnival Club are holding another fund-raising dance this week. They have booked Portrait, that fine harmony group from London, who have made a number of very popular visits to the town’s Sydenham Community Centre….. (15th June 1971)

By this time, Portrait had played Bridgwater so frequently I’m surprised they didn’t take up lodgings and become a permanent fixture in the town.

Madrigal showed versatility and featured just about everything, from general pop to reggae and heavy music, when they came to the New Scene Discotheque at Bridgwater YMCA. The boys also aired their new Decca single “Hear What You Wanna Hear”….. (15th June 1971)

MADRIGAL

I’m not sure as to when Madrigal played this gig, but even though this was their debut performance in Bridgwater, they had originally been booked to play YMCA’s “New Scene” discotheque back on the 29th April but due to malfunctioning transport, had failed to turn up. At least, unlike The Chairman Of The Board, they succeeded in fulfilling their commitment. By all accounts, Madrigal had an excellent live reputation with “great vocal harmonies and a tight sound” according to Discogs. It would appear that they released just 4 singles, the third of which, for Sovereign records, was a cover of The Zombies “Time Of The Season”. In 1972, after a change of personnel, they continued their fascination with all things medieval and became known as “Merlin”, recording several singles for CBS.

Sam Apple Pie, who scored a big hit at last year’s Bath Blues Festival, have been booked by the Commercial Club for a dance at Blake Hall, Bridgwater, on Friday night. The outfit specialise in progressive music but also do some commercial pop material…. (22nd June 1971)

25th June 1971
SAM APPLE PIE

It would appear that some of Bridgwater’s other venues were trying to give the New Market a run for their money. The most interesting thing about this band was that they, along with Duster Bennett and Marsupilami, had also played the first Pilton Festival back in 1970 which makes it three bands that had appeared at the very first “Glasto”, that also played our home town. In 1971, Sam Apple Pie, a blues band from Walthamstow in London, were having something of a hiatus as they were in between record releases and indeed record deals. Their eponymous debut album appeared on Decca in 1969 but the follow-up, “East 17” (recorded for DJM), did not appear until 3 years later. It turned out to be their final album though they continued as a live band until disbanding in 1974, only to reform one year later to become Vincent Crane’s backing band in his latest edition of Atomic Rooster. Two of the original band members, guitarist Malcolm Morley and drummer Dave Charles later joined forces in the band Help Yourself with Morley going on to play with the Welsh rock group Man whilst Charles became an engineer at Rockfield Studios in Wales. This led him to work on albums by Hawkwind, Dr.Feelgood, Dave Edmunds and Graham Parker and a little later, Jeff Beck, The Fabulous Thunderbirds, Nick Lowe, The La’s and The Charlatans (whom he also produced).

3rd July 1971
TAMI LYNN

Once more, the New Market’s uncanny ability to book an act that was currently hip and happening strikes again. This time it was with a singer who had a hit with a song that was 6 years old when it entered the British pop charts. Tami was born Gloria Jean Brown in New Orleans and as a kid had Allen Toussaint as a classmate. She started out, as so many soul singers did, as a gospel singer but was discovered by local artist Alvin “Red” Tyler and after changing her name, former school mate Toussaint signed her to AFO Records. A move to New York City saw her open for such jazz pioneers as John Coltrane, Miles Davis and Ella Fitzgerald. Atlantic Records Jerry Wexler heard Lynn singing at a convention in 1965 and it was at this point that her “hit” was recorded for Atco, though for some inexplicable reason it was never released and remained in the vaults for 6 years, appearing during the year of her New Market performance. It would appear that it was the Northern Soul fraternity who were once again responsible for it’s success with the song reaching a high of No.4 in the week ending the 20th June. In fact in the week of her New Market appearance, the song was still in the Top 10. Due to the success of the record, she released an album in 1972 entitled “Love Is Here And Now You’re Gone” one of only two LP’s that she issued as a solo artist (the 2nd, “Tamiya Lynn”, did not appear until 20 years later). She achieved some success as a backing vocalist, predominantly with Dr. John, with the majority of his records featuring Tami, and she toured with him as part of his band in the mid-70’s. She also sang with Wilson Pickett, Sonny & Cher and Joe Cocker and ., even more impressively, on The Rolling Stones 1972 album “Exile On Main St.”. She is most well-known however for her one hit record which entered the British charts for a 2nd time when it was re-issued in 1975. Tami sadly died in Miami on June 26th 2020, at the age of 81.

What was most unfortunate, once again, was that the Mercury’s redoubtable Mike Guy was on holiday at the time of this gig and sadly there is no review of the concert performance. In fact there was no mention of it at all apart from a very short comment made on the 20th July (see below)

Portrait, in Bridgwater again recently, have revealed details for a new single to follow “Tokaido Lines” which was tipped for the charts by many people but unfortunately never made it. The top side is likely to be a Greenaway/Cook number, with backing voices by the renowned Sue and Sunny. It will be issued on the Pye label, same as “Tokaido Lines”, but it is not expected to be released until August at the earliest. (6th July 1971)

For the third successive week there is a Rave at Bridgwater Rugby Clubhouse. Booked for this Friday are Apple Snow, another outfit from the Bristol area. (6th July 1971)

The opening of Westside Music Centre at Bridgwater and the transference from Street to the town of Westside’s entertainments agency is already making an impact on the local music scene. Private individuals, not only from the immediate area but places as far away as Axminster and Bridport are contacting Westside about bands, pop groups and other musical acts which the agency has on it’s books. It’s all very encouraging, particularly for local groups already with Westside because it means that they will be getting much more work in the locality and beyond. Not only that, Westside will be on a constant lookout for new talent in the area. On hearing of a new group etc, they will be going along to see them and if they like what they see they could find themselves being added to the Westside roster of artistes. There’s another important aspect to the arrival of Westside in Bridgwater. Local dance promoters and so on are finding it much simpler to book attractions through an agent based in their home town. (13th July 1971)

Shame that Nulli Secundus had to break up after a years hard work. We’re already missing them. (13th July 1971)

I was sorry to learn that SOS’s Sunday concert at the Classic, Bridgwater, attracted less than 100 people, although those present enjoyed themselves. As a result of this poor turn-out, no more pop concerts will be held at the Classic. The news concerning Tami Lynn’s visit to the New Market Discotheque, Bridgwater, was much better. There was a good attendance, and here again patrons liked her programme. (20th July 1971)

20th July 1971
The operators of the Psyco Discotheque at the Community Centre have agreed to present a London group now that they have changed their moniker of Hurricane Smith to avoid confusion with the “Don’t Let It Die” hit recorder of the same name. It was weeks ago that the organisers first secured a July appearance of the group and when “Don’t Let It Die” by Hurricane Smith more recently entered the charts, everyone naturally thought the outfit in question had made the disc. Then, of course, it transpired that the record was cut not by the group at all, but by a staff producer at EMI Records who is really called Norman Smith. Apparently, the group had been known as Hurricane Smith for the past two years but did not register the name. Roy Brogan, warden of the Community Centre, said he would have cancelled the gig if they had wanted to undertake it under their old name., but they had now changed to Squiddley Diddley – and would be billed as such for their appearance at Psyco on Friday week, the 30th. “Needless to say, it was a great disappointment when we first heard what had happened”, he remarked, “although many other promoters who had booked the group and thought they had a scoop on their hands are in the same boat”. The warden is sorry for the disappointment, but it’s nothing to do with him. And anyway, the problem has been resolved now the group have chosen a new name, and fans should judge them as Squiddley Diddley when they see them on Friday of next week.

Bridgwater YMCA’s New Scene Discotheque goes “live” once more on Thursday with Private Number…..Portrait were the subject of an unexpected but welcome late return booking for the Psyco Discotheque. This Friday’s Psyco guests are High Society, from the London area, who will also perform at the Community Centre’s “23 Crowd” Disco the following evening. (20th July 1971)

ROCK AND ROLL SPECIAL
27th July 1971
After soul, pop and reggae, good old rock n’roll comes to Bridgwater’s New Market Discotheque on Saturday when the six-piece Penarth group Shakin’ Stevens and The Sunsets appear. Their visit coincides with yet another rock and roll revival, spearheaded by the chart entry of Slade and “Get Down And Get With It” and the incredible return to the hit parade of “Heartbreak Hotel” from Elvis Presley. Of course, Shakin’ Stevens and The Sunsets would say that the original rock music has never gone out of fashion, and they are well qualified to make that claim having played authentic rock and roll for the last 10 years and being one of this country’s most successful professional r. and r. outfits. Shakin’ Stevens takes the lead vocals, with “Ace” Skudder on piano, Commander Chuck (bass) and Little Willy (guitarist). The unit is completed by a sax player and drummer and the whole show is introduced by one “Legs” Barrett, cheerleader-cum-roadie-cum-manager, who also sings along with the boys and generally keeps the excitement going. The group have just released their third CBS album “I’m no JD”, which incorporates five of their own numbers, so New Market Disco patrons can expect to hear them presenting some of these tracks besides a string of the unforgettable rock classics. Previous recordings made by the combo were Shakin’ Stevens And The Sunsets; “A Legend” (an L.P. produced by Dave “I Hear You Knocking” Edmunds) and cuts for a “Battle Of The Bands” 12-incher which also featured rockers Gene Vincent, The Houseshakers, deejay-singer Dave Lee Travis and The Rock and Roll All-Stars. The lads, who have appeared at Radio 1 Club’s and on BBC Television’s “Disco 2”, also issued a single about two months ago based on the original rock setting of the song “Woodstock”. Shakin’ Stevens and The Sunsets wear drape jackets on stage and their audiences range from people who were teenagers in the rock era to those who are experiencing this kind of music for the first time. About 90 per cent of their work these days comes from college bookings. In all respects this should be a very interesting and unusual dance date for Bridgwater – and it will be even more interesting to see the reception the group get here.

31st July 1971
SHAKIN STEVENS & THE SUNSETS

Michael Barratt was born in Cardiff, the youngest of 11 children. During his formative years, he was employed as both a milkman and an upholsterer but sang in his spare time. He eventually joined a band called The Backbeats having originally followed them as a fan and occasional singer. Shortly after Barratt had become their lead vocalist, they were given a make-over with a change of name and musical style, with the emphasis on 50’s Rock N’Roll. It was at this point that Shakin’ Stevens was born. They achieved two major breakthroughs in quick succession, firstly by supporting The Rolling Stones in December 1969 and then, during the following year, by obtaining a record deal with Parlophone. Regarding the Stones appearance, as a hardcore rock and roll fan, The Sunsets manager Paul Barrett was suitably amused by John Lennon’s appearance at a rock and roll revival show in Toronto in September 1969 and wrote a letter to the music press inviting Lennon to audition for the Sunsets. It is uncertain as to whether Lennon saw this correspondence, but it was enough for the Rolling Stones management to offer the group a support slot at their forthcoming show at the Saville Theatre in London on 14 December. Unfortunately, the resultant gig was something of a disaster. Shaky was more than a little nervous whilst drummer “Rockin Louie” left most of his kit back in Cardiff which resulted in him propping up bits of percussion on an upturned fire bucket. But they were getting noticed, firstly by John Peel, who offered to sign them to his Dandelion record label and who, unsuccessfully, produced some tracks with the band. At this point, enter Dave Edmunds. Edmunds overheard the band rehearsing and was suitably impressed enough to get them in the studio. It was during these recordings, that a version of “I Hear You Knockin'” was cut though, much to Stevens annoyance, the lead vocal was handled by drummer Louie. Edmunds did get the group a record deal with his then label, Parlophone, and produced an album that was rather fancifully, and as it happens, prematurely, called “A Legend”. But despite getting good reviews, Edmunds chose to issue his own version of “I Hear You Knockin” as a single, which got to No.1. A great success for the Welshman, but as it turns out, bad news for The Sunsets. Parlophone, not sensing it’s commercial potential, refused to release it so Edmunds arranged for it to be issued by MAM Records instead. The result was that once the single had achieved No 1 status, Parlophone sued for breach of contract and The Sunsets were dropped from their roster. After some personnel changes, they did succeed in getting a record deal with CBS, and in the year of their Bridgwater appearance, released a 2nd album entitled “I’m No J.D.” But the album sold pitifully (no more than 1,000 copies) and, unsurprisingly, the band were released from their contract. The Sunsets were always a good live draw and in 1972 were named the ‘Top British Rock And Roll Group (Of The Old School)’ by the New Musical Express. But at this point in his career, Shaky was still 5 years away from stardom and leading up to that point, they were probably more popular in Europe, recording 3 albums for the Dutch “Pink Elephant” label and scoring several hit singles.

Lots of happy rock memories revived by Shakin Stevens and The Sunsets…..

Audiences at the Saturday “23 Crowd” Discotheque (Bridgwater’s Sydenham Community Centre) must be the most appreciative anywhere, waxing joy that a dance is catering exclusively for their age group. Latest aggregation to play there were People, replacing High Society, who had to go to the Continent for a tour. The six-piece from London had presented a rather mixed bag at the previous night’s Pysco dance, but they got themselves together for the “23 Crowd” and offered cohesive instrumentation and pleasing vocal harmonies. The saxes and flute helped to enrich the overall sound and the combo had a nice line in pungent versions of such dance favourites as “Joy To The World”, “Down On The Corner” and “Higher and Higher”. (3rd August 1971)

Stand by, keep your fingers crossed and be prepared to greet two acts with current Top Twenty records at dances being held in Bridgwater this week. Coming are Greyhound of “Black and White” fame, and the “When You Are A King” vocal harmony crew White Plains. First to arrive will be the Plains, who have been booked for Friday evening’s Blake Hall dance organised by the Commercial Carnival Club of Bridgwater. Greyhound check in at the New Market Hotel Discotheque the following night. Launching themselves at the end of 1969, White Plains initially scored during the bubblegum era with “My Baby Loves Lovin” and “I’ve Got You On My Mind”. But they soon proved to be more than just a teenybopper attraction when they graduated to ballads like “Julie Do Ya Love Me” and now the beautiful and unusual “When You Are A King”. Their record producer is Roger Greenaway, who with his song writing partner Roger Cook, also penned the group’s first three smash singles. Greyhound are no strangers to the New Market Discotheque, having done gigs as The Rudies. They represent the trend towards sophisticated, widely accepted reggae music containing definite arrangements rather than simple riffs.

6th August 1971
WHITE PLAINS

Once upon a time there was a vocal group called The Ivy League. They were the brainchild of songwriters John Carter & Ken Lewis (who incidentally played the Top 20 Club in a band called Carter-Lewis & The Southerners in 1964) The Ivy League enjoyed a couple of decent Top 10 hits with “Funny How Love Can Be” and “Tossin and Turnin” in 1964 and 1965 respectively but after a couple of years in the wilderness, and in order to cash in on the flower power era, The League (with super session singer Tony Burrows now a group member) morphed into The Flowerpot Men. They were responsible for the bandwagon-jumping hit “Let’s Go To San Francisco” (also written by Carter & Lewis), but after the two songwriters departed, Roger’s Cook & Greenaway commandeered the group and in order to keep up with the changing musical scene, The Flowerpot Men, having served their purpose, morphed into White Plains. It would seem that their line-up was extremely flexible but apart from Burrows, other singers included Ricky Woolf and Pete Nelson. They achieved a Top 10 hit in 1970 with “My Baby Loves Lovin” (with Woolf on lead vocals) and despite several more personnel changes, a number of other hits duly followed including “I’ve Got You On My Mind” and “Julie Do Ya Love Me” (both with Pete Nelson on vocals). By the time of their Bridgwater appearance however, Burrows and Woolf had left, but the aforementioned “When You Are A King” (NOT a Greenaway/Cook vehicle as it happens) reached No 13 with Nelson again handling vocal duties. The song was later translated to Hebrew and became a hit for Israeli singer Shlomo Artzi. White Plains continued to drift up to 1976 and enjoyed one more Top 20 hit in 1973 with a song that was used as a commercial for Butlins. Not exactly a group with a great deal of artistic ambition other than chart hits and light entertainment.

7th August 1971
Greyhound

Successful concert by Greyhound at Bridgwater’s New Market Discotheque…

10th August 1971
THE BEAT GOES ON
August is normally a slack time for pop dances in the Bridgwater area as promoters take a well-earned break after 11 months of hard work. But this year it’s different because so many local organisations now run dances that there will be something to keep the ball rolling right through the month. Following hot on the heels of scheduled visits by Greyhound and White Plains last weekend comes word that the social section of Bridgwater Constituency Conservatives are to present two groups on one bill at the Town Hall next Saturday. They are Private Number and Phoenix Press, both of whom have made quite a few appearances in Bridgwater and are well liked by audiences. Private Number come from the Bristol area and only a few weeks ago played at Bridgwater YMCA’s New Scene Discotheque, where they had a good reception. Phoenix Press hail from Taunton and have taken part in an edition of the Radio 1 Club. Later in the month at the Blake Hall, Bridgwater, another in the series of Friday night dances will be held, this one starring The Pretty Things. There will be more details in due course.

10th August 1971
The confusion between “Don’t Let It Die” man Hurricane Smith and a group of the same name continued when the outfit visited the Psyco Discotheque at Sydenham Community Centre. After deciding to change to Squiddley Diddley, the group then switched titles again and went on stage as Penance Rock Mission. Lead guitarist Stuart Hornall said; “We’ll definitely hold on to this last name now, but we’re very upset at having to drop the title of Hurricane Smith because it means going back to square one. We were known as Hurricane Smith for seven months before Norman Smith decided to call himself that, and, in fact, we registered the name. As soon as we heard he was using it for his record we contacted his agent, but nothing could be done as the disc labels had already been printed. Although we were most annoyed, we thought it was not worth taking the matter any further”. Penance Rock Mission mostly performed their own material for the Psyco gig, but although it was generally powerful and upbeat, the audience would have preferred to hear numbers they knew.

If you are one of those people who can’t stand loud beat groups, who cringe as the decibels increase, you’ll be pleased to hear of a group actually quietening their music down. They are local outfit Weight, who have been told that they are likely to get more bookings if they keep their sound at a reasonable level…. (17th August 1971)

24th August 1971
NEW DANCE DATE SET
Regular pop and progressive dance concerts featuring “good national attractions” will be offered at Bridgwater’s Blake Hall this Autumn by College Promotions, a new organisation based in the town. And the venture starts this Friday with a king-size bill comprising Blonde On Blonde, UFO, T2 and local discotheque Mobile Music Machine. Behind College Promotions are Rodney Stoodley, who will be responsible for booking the acts, Chris Hocking, in charge of finance, and Chris Mockridge, stage presentation. All three have been connected with the entertainment business for some while – Rodney and Chris Hocking with the organisation side of the Commercial and other carnival club dances and Chris Mockridge with Mobile Music Machine. Rodney told me: “We decided to launch the project because we found that one often has to go to places like Exeter, Weston or Bristol to see national groups”. He said their aim was to book whatever good national names were available and prepared to play in Bridgwater on a Friday night. But he warned that if the dances attracted boozers just out for a cheap drink after 11 o’clock, they would be discontinued. “We want to cater for people who genuinely enjoy good pop and progressive music”. College Promotions have set themselves a time limit of three months to see what sort of reaction there will be. Wherever possible, and at nearly every dance, part of the money raised will be donated to local organisations. Heading Friday night’s strong line-up are Blonde On Blonde, originally from Wales, who enjoyed considerable success with their “Castles In The Air” single. The group, with a particularly large following in London, have played just about everywhere, including all of this year’s big festivals. They have visited America about five times and been in the U.S. charts. UFO returned about four weeks ago from a trip to Japan and within the next month will be off on their travels again, this time to the States for their third tour of the country. Their current album has sold 135,000 copies in America. T2 have just re-formed. Before splitting, they were a popular draw with London audiences and with a different personnel and a new L.P. released shortly are all set to carry on where they left off. The bill replaces a planned appearance by The Pretty Things, but it is hoped to present them later in the year when they have sorted out a number of internal problems.

27th August 1971
BLONDE ON BLONDE

Bridgwater really was spoilt for choice on this particular evening though of the three bands that appeared, only one of them achieved any significant amount of fame and it wasn’t this lot. Formed in 1967 in Newport and named after the Bob Dylan album, they moved to London to seek their fame and fortune and, signing to Pye Records, released their debut album “Contrasts” in 1969 and that summer appeared at the Isle of Wight Festival. Described by Wikipedia as a “guitar-led psychedelic rock group”, the arrival of David Thomas in 1970 gave the band a more progressive outlook and they duly issued their second record, “Rebirth” during that year. A third and final album “Reflections On A Life” came out on Ember in the year of their Newmarket appearance but by 1972 they were no more. Apart from original guitarist Ralph Denyer co-writing a “Guitar Handbook” with fellow guitarist Isaac Guillory, none of the band members achieved notoriety elsewhere.

T2

A trio, this was another “progressive rock band” whose career was even more fleeting than Blonde On Blonde’s. T2 evolved from a band called “Neon Pearl”, and consisted of drummer Pete Dunton, bassist Bernard Jinks and guitarist Keith Cross. They were initially managed by a guy called John Morphew, who succeeded in getting the band a record deal with Decca that included an advanced royalty payment of £10,000, at the time an enormous sum of money for a record company to shell out. Unfortunately Morphew’s ambition was never realised as internal strife within the band led him to walk away from the group, leaving them to their own devices. They did manage one album, the well-received “It’ll All Work Out In Boomland” released in 1970, but one album is a poor return for 10 grand which may have affected Decca’s treatment of the group. The album looks like the standard prog rock record of the time – only 4 songs, all written by Dunton, one of which takes up the whole of Side 2 and is 21 minutes long. It suffered due to what was obviously a complete lack of interest from the record company. Decca chose to press only a limited amount of copies of the LP and then failed to promote it, making the original album hard to find. Despite an appearance alongside Blonde On Blonde at the Isle of Wight Festival, and a few BBC appearances, the band were constantly at loggerheads it seems with Mike Guy suggesting that they only just re-formed having split up. They survived into 1972 but then disbanded for good during the recording of their 2nd album after further disagreements within the band. Guitarist Keith Cross was regarded very highly whilst Paul Stump, in his 1997 book The Music’s All that Matters: A History of Progressive Rock, said that T2 were a potential heavyweight in the progressive rock world. Unfortunately, what could have been turned into what never was.

UFO

Unquestionably the band that became the biggest draw of the three on offer during this evening, though at the time of their appearance they were only marginally successful. Formed in London in 1968, they were originally called Hocus Pocus. After signing to the Beacon Record label, they released their first album (imaginatively titled “UFO 1”) in 1970, a record that could be filed under “heavy rock”, but they changed tack with “UFO 2 : Flying”, released the following year, adopting a sound that owed more to the bands Hawkwind and the spacier parts of Pink Floyd. 2 of the tracks on the album “Star Storm” and “Flying”, weighed in at 19 and 26 minutes respectively though ironically both “Boogie For George” from their debut album and “Prince Kajuku” from “Flying” were Top 30 hits in the German singles charts. A live album, recorded in Tokyo on the 25th September 1971, appeared at the end of the year of their Newmarket appearance. UFO, to their credit, realised that their sound needed an upgrade, and after guitarist Mick Bolton left in 1972, they searched for a replacement that would define a new approach to their music. After employing both Larry Wallis (from “The Pink Fairies”) and Bernie Marsden (who later joined “Whitesnake”), they poached 18 year-old axe man Michael Schenker from German band The Scorpions and slowly developed a “heavy metal” approach for which they are most well-known. It appears to have paid handsome dividend as they have sold over 20 million records worldwide, and are considered one of the greatest hard rock British bands of their generation. The group were ranked number 84 on VH1’s “100 Greatest Artists of Hard Rock” in 2009.

ROCK CONCERT TRIUMPH
College Promotions first concert got off to a great start at the Blake Hall, Bridgwater, with an encouragingly large audience and some exciting music from Blonde On Blonde, UFO and T2. The success of the venture must be regarded as one in the eye for those who thought the heavy rock following had died in this part of the world. I’m happy to report that it’s still very much alive and to record that at last we have an organisation in the town actively recognising that there are many people who want to see good progressive groups regularly on their own territory. The line-up could not have been bettered to launch the project because all three bands command a healthy interest around the country and are ready to take that next step towards the top. Blonde On Blonde revealed that they are continuing to develop a harder, tighter style far removed from the days of their ethereal “Castles In The Sky” single. Making their first appearance as a three-piece with newest recruit Graham Davies on lead and vocals, they gave us a treat by building their act around numbers for their next album, which is an essay in corruption. The material has much pace and this, combined with the cohesiveness of vocals and instrumentation, resulted in a strong hypnotic flavour permeating their act. It was UFO, however, who stole the show after an hour of unashamedly loud and stimulating sounds, punched home with plenty of extrovert movement on stage, much of it spontaneous. Choosing as a starter a really frenzied opus called “Prince Kujuku”, which is almost certain to be their next single, they followed on with the bluesy “Loving Cup” and an atmospheric piece entitled “Star Storm”. But it was a 15-minute version of the self-penned “Boogie For George” – a highlight of their repertoire – which drove the fans wild and had them shouting for more. This outfit must break through to the masses soon. Earlier, the re-formed T2 (a trio with former Gun man Pete Dunton on drums) had shown much promise in a thoughtful programme containing considerable light and shade and many changes of mood. Compositions like “Fantasy” and “The Minstrel”, with their moments of plaintiveness, were in striking contrast to the group’s closer, “Quest”, which featured a long, tearaway solo by Pete. College Promotions were able to announce before the evening ended that they had booked Warhorse for their next concert at The Blake Hall later this month.

London attraction Twigg open the first 23 Crowd Discotheque of the new season at the Community Centre on Saturday. They also guest at the Psyco dance the previous night….Marsupilami have splintered and three new bands may emerge.. (7th September 1971)

Reggae group The Pioneers, whose “Let Your Yeah Be Yeah” is set to become the next number one, have been booked by the New Market Discotheque, Bridgwater, for an appearance this coming Saturday. (7th September 1971)

11th September 1971
THE PIONEERS

The Pioneers are a vocal group that go back as far as 1962 and were formed by brothers Sydney & Derrick Crooks and their friend Winston Hewitt. After releasing several self-produced singles with little success, Hewitt emigrated to Canada in 1966 and was replaced by former Heptone Glen Adams. Unfortunately this had no effect on their lack of chart action and they disbanded in 1967. Sydney eventually found work at a record shop owned by producer Joe Gibbs, and was persuaded to return to performing. The Pioneers were re-assembled as a duo with newcomer Jackie Robinson as lead vocalist and, working with both Gibbs and Lee “Scratch” Perry they achieved success with singles such as “Long Shot” (a song about an unsuccessful race horse), “Jackpot” and “Catch The Beat” and achieved a number 1 hit with “Samfie Man” in 1968, recorded with producer Leslie Kong. Desmond Dekker’s half-brother George (real name George Agard) augmented the line-up and they achieved an international hit in 1969 with “Long Shot (Kick De Bucket)”, a sequel to their previous hit, which led to a hugely successful UK tour. Due to their popularity in this country, they moved to Britain permanently in 1970 and during the following year, “Let Your Yeah Be Yeah”, a cover of a Jimmy Cliff song, peaked at No 5 in the singles chart on the 5th September, one week before their Bridgwater appearance. After achieving another, albeit minor, hit in 1972, they worked with Eddy Grant in 1976 before disbanding again, though they have sporadically re-formed on several occasions with Jackie Robinson & George Dekker performing at the London International Ska Festival in London as late as 2023. An interesting side project was a group called The Slickers, featuring the Crooks brothers and a vocalist called Winston Bailey. Their song “Johnny Too Bad”, which as been covered by both Jim Capaldi and John Martyn, was featured on the “Harder They Come” soundtrack in 1972.

The Pioneers, one of the most popular reggae attractions currently touring Britain, whose latest record “Let Your Yeah Be Yeah” is still a big seller, appeared at the New Market Discotheque, Bridgwater, and gave a really tremendous performance. The group – including George Dekker, brother of the famous Desmond Dekker – first gained recognition wit “Long Shot Kick The Bucket”. They are backed by their own Showband. In an hour-long show, they combined sound musical ability and showmanship with exciting visual impact, which soon compelled everybody to join in. Their act incorporated a selection of soul favourites such as “I’m Losing You”, “Amen” and “La-La Means I Love You”, plus their reggae hits, “I Need Your Sweet Inspiration”, “Long Shot Kick The Bucket” and, naturally, “Let Your Yeah Be Yeah”, So much were they appreciated that they received four encores. During the final encore they were almost prevented from leaving the stage and a member of the band was dragged into the crowd. After the show The Pioneers said how impressed they were by the enthusiasm of the audience, which had made it a pleasure to play at the New Market. Chris Ferris (Mike was not available for this concert)

Under the title “Improvements at Arts Centre”, posted on the 14th September, an article regarding the spending of £3,000 on increased toilet facilities and the building of two dressing rooms also mentions future attractions. It included the following; “Fans of progressive music will be catered for in a concert to be given next month by Symbiosis, who have appeared at Ronnie Scott’s Club and on the John Peel Show”. This was something of a departure for the AC, an establishment that was still terribly highbrow in it’s choice of booking. This, however, is a situation that was to change……

A festival of rock and roll films in Bridgwater comes one step nearer this week with the news that the idea is being considered by executives of the Classic Cinema chain in London…. (14th September 1971)

A late booking has been announced for the Live Scene 71 discotheque at Bridgwater YMCA. Appearing will be The Untouchables, a seven-piece reggae outfit from Bristol…(14th September 1971)

Phoenix Press of Taunton can be seen on Friday at the Blake Hall Bridgwater, when the Bath Bridge Carnival Club hold another dance… (14th September 1971)

At the 23 Crowd and Psyco Discotheque, Dateline went down well with a repertoire of hits past and present. Smartly dressed in suits – and that makes quite a change these days! – their numbers included “Never Ending Song Of Love”, “What Are You Doing Sunday” and “Black And White”. The boys punchy vocal harmonies and overall pace kept their act lively, even when they were doing revivals like the Jay & The Americans belter “Living Above Your Head” and “Jumping Jack Flash”. (21st September 1971)

From “Dateline”, a group that seem suitable for cabaret, to one of the most progressive bands in the UK. Bridgwater’s eclectic roll call of artists continues.

PIBLOKTO IN CONCERT
Pete Brown’s Piblokto have been signed to appear at the Blake Hall, Bridgwater, on Friday for the second concert in the series of pop and progressive music evenings presented by College Promotions. The booking is a scoop for the organisation because it’s the first Friday this year that the band have been available, such is the demand both at home and broad for their music. Piblokto are the outfit who were selected from 70 applicants to play at a free concert with Jack Bruce, of Cream fame, and his new band in London this year. The line-up consists of “Taff” Williams (lead guitar), Steve Glover (bass), Phil Ryan (organ) Ed Spevock (drums) and Pete (vocals and “talking” drums, occasionally doubling on trumpet). You may remember that Warhorse were originally announced for this concert but although College Promotions had a contract signed by the group’s manager, they heard only a fortnight beforehand that they would not be coming “because of German television engagements”. Rodney Stoodley, of College Promotions commented; “We advertise groups in good faith, but this non-fulfilment of dates is common throughout the country. When a group fails to honour a booking it usually means, however, that a better band is replacing them – and that in turn means a better evening for the audience. All the same, this business of having to alter programme bills is not the sort of thing we like to see happening”.

24th September 1971
PETE BROWN’S PIBLOKTO

Warhorse were a band formed by Nick Simper after he was sacked by Deep Purple, and one of it’s claims to fame was that it once boasted the talents of Rick Wakeman prior to him joining The Strawbs in 1970. But just like The Troggs, The Chairmen Of The Board, and The Pretty Things before them, they failed to show up so this is where our interest in them ends. As for Pete Brown, his credentials were actually more interesting than Mike Guy had suggested. He was, effectively, more poet than musician and in fact had his first poem published in an American magazine called “Evergreen Review” when he was just 14 years old. Becoming part of the Liverpudlian poetry scene in the 60’s, he. along with Adrian Henri and Roger McGough, was influenced by the American Beat Poets, and along with Michael Horovitz, held a recital of his work at the Royal Albert Hall in 1965. Like many poets before him he added music to his repertoire and apart from touring with the innovative folk guitarist Davey Graham, his band “The First Real Poetry Band” included seminal jazz guitar player John McLaughlin in it’s line-up. It was whilst he was with this group that he came to the attention of rock trio Cream, but despite being earmarked as a songwriting partner for drummer Ginger Baker, it was his collaboration with Jack Bruce that hit the mark. Together they co-wrote some of Cream’s most cherished songs, including “I Feel Free”, “Sunshine Of Your Love” and “White Room”. In fact after Cream spilt, Bruce & Brown continued to work together for many years with Brown acting as Bruce’s “silent partner”. Prior to Cream’s split, Brown formed his own Battered Ornaments alongside Chris Spedding on guitar and Dick Heckstall-Smith on saxophone and they released two albums, “A Meal You Can Shake Hands With In The Dark” and “Mantelpiece”. However, for reasons unknown, on the eve of an appearance with The Stones at Hyde Park, Brown was asked to leave his own band and his vocals on the 2nd album were erased and re-recorded. Brown’s reply was to form Piblokto (the name is Inuit for “Arctic Hysteria”) though they only lasted for 3 years, splitting up pretty much around the time of their Bridgwater appearance. Their two LP’s were the splendidly titled “Things May Come And Things May Go But The Art School Dance Goes On Forever” and “Thousands On A Raft”, both issued in 1970, whilst a final single “Flying Hero Sandwich”, the only track to feature the band that played the Blake Hall, appeared in 71. Ex Piblokto drummer John “Pugwash” Weathers ended up in Gentle Giant whilst keyboard player Ryan eventually joined the Welsh band Man. As for Brown, he went on to work with another musician that had played Bridgwater previously, the talented but somewhat un-hinged Graham Bond. Brown continued to jump from project to project foe the next 40 years, working with both music and other formats (he wrote the film script for the animated “Felix The Cat : The Movie” and produced a film score for the BBC). His most lasting collaboration however was not with Jack Bruce, but ex Piblokto musician Phil Ryan whilst also working with Gary Brooker as lyricist for the final Procol Harum album released in 2017. Brown died of cancer on May 19th 2023 at the age of 82.

GROUPS WHO SKIP GIGS
28th September 1971
How much longer must agents, dance promoters and audiences be dictated to by professional pop groups who turn up for gigs only when they feel like doing so? In Bridgwater there have been more let-downs over bookings this year – and we are not the only ones to suffer by a long chalk. There are reports of it happening right throughout the country. Today, groups – particularly the hard rock outfits – can command tremendous fees and many have already priced themselves outside the range of smaller dance hall owners. The habit of failing to honour bookings can only do them more harm because promoters who are repeatedly let down may well feel like reverting to discotheques only. At a time when dance halls are once again turning to live entertainment, I find it ironic that so many professional acts are treating engagements so casually. Admittedly, better groups are often booked in their place, but this is not what matters. It is the principle of the thing. I am frequently amazed that audiences take the initial disappointment so well, but thank goodness they do because it’s no joke for disc jockeys and others trying to explain a group’s non-appearance. With not even a contract signed by their manager being sufficient to guarantee that the group will be there on the night, the position is becoming serious. Something has to be done and for a start I suggest that people on the receiving end of it all make as much noise as possible.

The re-appearance in Melody Maker of advertisements for Nulli Secundus has sparked off a mystery. As you will recall, Nulli Secundus was the name given to one of our local groups. When they were going strong earlier this year, a series of ads for the unit was published in the pop music press saying, simply: “M.M. Nulli Secundus”. Then the group broke up, but now months later the same ads have suddenly started appearing again in Melody Maker. Rob Darch, who was a member of the unit, told me last week that he hadn’t seen the paper lately, but there were no plans to reform and he didn’t know from where these latest ads had come. Since it seems unlikely that there is another Nulli Secundus, or that they would use the same advert, the mind boggles…. (28th September 1971)

8th October 1971
THE RADHA KRISHNA TEMPLE/Crimson Earth

This gig almost slipped through the radar. The only confirmation that it took place was an advertisement but Mike Guy not only did not review it, but didn’t even mention it taking place. The Radha Krishna Temple was a musical outlet for the International Society for Krishna Consciousness (ISKCON). Having opened temples for spiritual learning in both San Francisco and New York, in 1968 they shifted their attention to London and opened a centre there. The first person that they sought upon arriving in the UK was George Harrison, who himself was a devotee of Hindu philosophy and meditation. Harrison was also interested in the practice of communal chanting (or “kirtan”) and after visiting the Temple’s warehouse in Covent Garden, made regular visits to join in with the ceremony, playing harmonium. After The Temple had performed a kirtan at Harrison’s house, the idea to make a record of the Hare Krishna chant took seed. The founder of the temple wanted The Beatles to record it in order to promote it’s message internationally, but Harrison chose to produce a version of it using the devotees of the London temple instead. Released on the 29th August 1969 (as Apple 15) it was surprisingly commercially successful, reaching No 12 in the UK. A follow-up single, “Govinda” (Apple 25) apparently featured Harrison, Billy Preston, Donovan, Mary Hopkin and the London Philharmonic Orchestra and reached No 23 in 1970. After travelling to Paris to help establish a local branch of ISKCON in France, Harrison then produced an album (simply entitled “The Radha Krsna Temple”) and this was issued on 28th May 1971, just 5 months before their visit to Bridgwater. One of the last records to be issued by Apple, despite receiving positive reviews, it was also buoyed by the success of “My Sweet Lord”, a single that was effectively preaching the same gospel. However, the album failed to chart in either the UK or the US due to the deterioration of the Beatles, their management and their record company.

As for Crimson Earth, it would appear that they were from Dorset and, depending on what source you believe, were either runners up in an area heat of a 1972 Melody Maker National Rock & Folk contest or the actual winners, reaching the semi-finals the following year. One of these successes led to a television
appearance and an audition for EMI. In 1971 they started working with the Plastic Dog agency from Bristol and toured the country, though mainstream success proved elusive with the band splitting in 1976.
Crimson Earth did succeed in recording six tracks on a reel-to-reel tape in 1972, some of which can be found on You Tube.

On Friday, Jimson Weed make their first appearance of the year at the Blake Hall in the next event presented by College Promotions….Same night Macaroni return to the Psyco Discotheque at Sydenham Community Centre. Saturday also sees a very interesting concert at the Arts Centre. On stage will be Symbiosis, who are described as “a new, explosive band of top-line jazz musicians”. They have appeared at Ronnie Scott’s Club and on the John Peel Radio 1 show….(12th October 1971)

Those who remember U.F.O.’s preview of their next single, “Prince Kajuku” at that Blake Hall concert some weeks ago will be pleased to know that the disc is now available on the Beacon label. A riveting, pile-driver spotlighting fuzzy guitars, a wild solo vocal and pounding drums against a frantic beat, it stands a fair chance of reaching the charts. But don’t expect the same amount of electricity that can only come from the “live” version…..(19th October 1971)

The Late have been booked for Bridgwater YMCA’s Live Scene 71 Disco this Thursday…Following many requests for a reggae band, Psyco Discotheque offers the return of Private Number from Bristol on Friday…The Centre’s 23 Crowd organisers are sorry that patrons were inconvenienced when Macaroni turned up their volume. They will see it does not happen again and at the next one, patrons will be asked whether they want groups in future or records…S.O.S have formed themselves into a new group called Electric Funeral… (26th October 1971)

Blues and rock fans have a treat in store this week when Chicken Shack are to appear at the Blake Hall, Bridgwater, on Friday in the next concert-dance presented by College Promotions. One of the original “blues boom” groups of two or three years ago, the outfit is now a trio, fronted by the incomparable Stan Webb, vocalist and lead guitarist. With him are John Glascock on drums and Paul Hancox (bass). Chicken Shack have had four albums released on the Blue Horizon label and towards the end of this year a new L.P. will be issued by the Deram subsidiary of Decca Records. Bridgwater audiences will just be catching the band before they go off to the States for a three-week tour with Savoy Brown which includes several one-time Chicken Shack members. The boys will be playing mostly original material, but several traditional blues numbers are expected to be incorporated into their act to keep everybody happy. It is also likely that Stan Webb – the Cockney showman of the group – will be using his 100ft. guitar lead, which enables him to go down into the audience and play.

29th October 1971
CHICKEN SHACK

Sounds Of Blue were a band from Stourbridge that were formed by David Yeats and Andy Silvester in 1964. Stanley Webb had just left a rival group called The Shades 5, and was asked to join Yeats & Sylvester’s aggregation. The band, at one point boasted the talents of both Christine Perfect and future Traffic member Chris Wood. In 1965 the band splintered and Chicken Shack (named after Jimmy Smith’s “Back At The Chicken Shack”) were the result. After holding a residency at the Star Club in Hamburg, they made their UK debut at the 1967 National Jazz & Blues Festival in Windsor and on the strength of that performance were signed to Mike Vernon’s Blue Horizon, which made them label mates of both Duster Bennett & Fleetwood Mac. Their first single appeared in 1968 and was quickly followed by the debut album “40 Blue Fingers, Freshly Packed and Ready To Serve” which reached No 12 in the charts. The second album, curiously called “O.K. Ken?” did even better, reaching No 9 but as with the first album, with no hit single to back it up, it didn’t stay in the charts for long. Ironically, a 45 recorded after the L.P.’s were released, a cover version of Etta James’ “I’d Rather Go Blind” featuring Perfect on vocals, WAS a hit, but by the time it had been released, the now Christine McVie (having married Fleetwood Mac’s bassist) had left the band and had effectively retired from the music business. Due to the single’s success, Blue Horizon coerced her into making a solo album, whilst Chicken Shack, now with Plastic Penny’s Paul Raymond as a replacement, continued to plough their blues furrow with little commercial success but a strong live following. By the time they had got around to playing the Blake Hall they were no longer on Blue Horizon (they had dropped the band in 1971) and were now signed to Deram Records as a trio featuring Webb, future Jethro Tull band member John Glascock on bass and drummer Paul Hancox. (Mike Guy had the professions of these two musicians the wrong way around) But the trio didn’t last long and in fact in 1974, having already lost 3 Chicken Shack band members to Savoy Brown, Webb joined that group himself appearing on their “Boogie Brothers” album. Webb revived Chicken Shack in 1977 and they have been going ever since with Stan a constant alongside a revolving door of musicians, including at one point, a New Market artist, Keef Hartley on drums.

Chicken Shack have been hailed as the most professional act presented by College Promotions at the Blake Hall, Bridgwater. The attendance was reasonable and the boys were given a good reception..

Taunton’s Phoenix Press are now Bridgwater-based. They have moved into a house in St. Mary Street and have been busy sound-proofing the basement. A warm welcome to them… (2nd November 1971)

College Promotions, who are regularly bringing “name” attractions to Bridgwater, have booked Alan Bown for this Friday at the Blake Hall. The band command large and appreciative audiences wherever they go despite the fact that they have never had a hit record, and in the Spring will be undertaking their first tour of the States. Formerly with Pye and now recording for Island, they have a new album on sale entitled “Stretching Out” which is picking up healthy sales. Alan Bown himself (previously a member of the John Barry Seven) plays trumpet and the line-up also includes John Anthony on tenor sax. The music is basically in the progressive category, with a tight combo sound being produced. It promises to be a good evening….. (2nd November 1971)

5th November 1971
ALAN BOWN

Alan Bown was born on the 21st July 1942 in Slough. A trumpet player, after leaving the RAF he joined a group called The Embers in 1963. A successful live band who played both jazz and rhythm n’blues, they were one of a myriad of artists who played alongside The Beatles at the Star Club in Hamburg. Bown eventually left to join The John Barry Seven and remained part of that line-up until they split in 1965 with Barry deciding instead to concentrate on songwriting. After the split, Bown took three members of the Seven and formed his own Alan Bown Set. Plowing the same musical furrow as Georgie Fame & The Blue Flames, they were signed to Pye Records by Tony Hatch but their debut single “Can’t Let Her Go” didn’t chart. In 1966 they acquired vocalist Jess Roden, the first of two singers who eventually achieved some notoriety elsewhere. Appearances on both “Ready Steady Go!” and at the Windsor Jazz Festival followed, along with a high profile performance at the Marquee Club. This line-up released three singles, though apart from “Emergency 999” becoming a Northern Soul favourite, chart success continued to elude them. Like so many groups before them, in 1967 Bown realised that, due to the changing face of popular music, he had to move with the times. This resulted not only in a shift of musical direction which embraced elements of psychedelia, but a new record label (Verve) and a brand new name. The Alan Bown! (as they were now called) released their debut album “Outward Bound” in 1968, a record that was championed by John Peel and which included a version of Dylan’s “All Along The Watchtower” that is said to have influenced Jimi Hendrix’s arrangement. During that same year, a single entitled “We Can Help You” threatened to break through, reaching No 26 in the charts but after their pressing plant went on strike, it seriously affected the sales of the record. From this point on, Bown’s band underwent a series of changes both in personnel and record labels and seemingly were never able to enjoy a period of stability. 1969 saw them move to Deram, and with this label they achieved another minor hit single (“Still As Stone”) but also lost the services of Jess Roden. His replacement was Robert Palmer (he of “Addicted To Love” fame) but despite appearing on two LP’s (“The Alan Bown!” and “Listen”), Palmer didn’t last long, as by 1970 he too had also flown the nest with the group now on their 4th label (Island) in just 5 years. The band were not only stalwarts of the live scene but were an aggregation who always included exemplary musicians with Bown’s knack of discovering talent, not exactly unprecedented but certainly impressive. Apart from the individual vocal talents of Roden & Palmer, part of the brass section that probably played The Blake Hall gig would have included future King Crimson sax man Mel Collins (who was also a very much in demand session player) and fellow saxophonist John Helliwell who, along with another member of Bown’s aggregation, bassist Dougie Thomson, later enjoyed tremendous success as members of Supertramp. In February 1972, Bown changed tack completely and formed a brand new band, retaining none of the previous members, but it lasted only 5 months, with Bown eventually giving up playing music altogether and becoming an A&R man for CBS Records. The Blake Hall booking was particularly apt as Bown had originally been scheduled to play the New Market on December 11th 1967, but for whatever reason, the gig never took place.

Visit of Private Number to the Psyco Discotheque at Bridgwater’s Sydenham Community Centre produced the largest Friday night attendance there for three years. The warden, Roy Brogan, said he wished to thank all those who turned up and hoped it augered well for the future. Reggae groups seemed to be what patrons wanted and provided that there was a continuing demand the centre would offer more acts in the same idiom at the lowest admission prices possible. Already booked are another coloured attraction from Bristol, the seven-piece Untouchables, who will be appearing this coming Friday…(9th November 1971)

Blonde On Blonde have now released their new L.P. “Reflections On A Life”, which they previewed at their Blake Hall concert in August. Issued by Ember (NR 5058) it’s an imposing, cleverly arranged work which traces the course of a life from pre-birth to after death, illustrating the problems which it is possible to encounter between these two points. The tracks show a tremendous range of style, from a kind of talking blues on “Gene Machine”, to electronic music and even a Chorale, taking in contemporary rock forms along the way. Many of them are controversial – but truthful. while their immediacy, tonal variety and mood changes hold the attention right to the end. Blonde On Blonde have been long regarded as an authoritative band and this album will win them further respect. What’s more, the recording engineers have come as near as they possibly can to capturing the group’s live sound…(9th November 1971)

PORTRAIT, UNICORN DUE
16th November 1971
Live entertainment has returned in no uncertain way to Bridgwater’s pop music scene. Nearly every week at least one venue presents a visiting group and often there is a choice of several attractions. This week, for instance, sees another strong line up including Portrait at the Psyco Discotheque, Sydenham Community Centre; Unicorn at the Blake Hall for College Promotions (unfortunately both events ae on Friday); and Good News at Sydenham Secondary School on Saturday and Sunday. Portrait are making a return visit to Psyco at the request of patrons. They are without doubt the most popular group to appear at the discotheque and the booking coincides with the release of their new single. Called “Hey Ruth” and released on Pye, it’s a commercial offering penned by the Hot Chocolate team of Errol Brown and Tony Wilson. The five members of Portrait all hail from roughly the same area of Edmonton and were discovered by producer John Schroeder. They are noted for their polished vocal harmony work, which almost took them into the charts last Summer when they issued “Tokaido Lines”. Unicorn are a four-piece who write a lot of their own material. Formed in 1963, their first break came when Billy J.Kramer signed them as his backing group. They did radio and television engagements and international tours and then, after going it alone and being influenced by people like Traffic and Neil Young, they were spotted by Transatlantic, for whom they now record.

19th November 1971
UNICORN

Let’s put a little flesh on the bones regarding the Unicorn history. As Mike quite rightly states, they were formed as early as 1963 and appeared under a variety of band names including The Senders, The Pink Bears and The Late Edition. Influenced by the beat groups of the day, they were initially a covers band, but started writing their own material in 1967 and were able to get some work as studio musicians backing other singers. After obtaining a month long residency at the Carousel Club in Copenhagen, their breakthrough came when Billy J Kramer employed them as his backing band for a 9-month stint, also in 1967. Inspired by Crosby, Stills & Nash, they began writing songs in a country-rock vein and secured a deal with Transatlantic Records. Upon doing so however, the label insisted on a change of name and “Late” (the name they were using at the time) became Unicorn. It would appear from Mike’s notes that at the time of appearing at the Blake Hall, they had still to release their debut album, though this duly appeared later in the year. Entitled “Uphill All The Way” it was promoted by the release of a single called “P.F. Sloan“, originally written and recorded by Jimmy Webb. They played some fairly lucrative gigs, including supporting Lindisfarne at The Royal Festival Hall in the same year as their Bridgwater appearance and in 1972 toured with both Stefan Grossman and Quiver. Further tours of both Italy and Sweden proved disappointing but one highlight was a television appearance in the Netherlands with The Flying Burrito Bros. In early 1973 they played at the wedding of a former Transatlantic publicist and during their appearance, Pink Floyd’s David Gilmour jumped up on stage with them during an impromptu performance of “Heart Of Gold”. Suitably impressed, Gilmour invited them to work at his studio and the resulting album “Blue Pine Trees”, funded and produced by the Floyd axeman, appeared on Charisma Records. Gilmour’s connection with the band also resulted in two of the group members appearing on Kate Bush’s debut album in August 1973. The session fee was one meatloaf, cooked by Gilmour’s wife Ginger. During a tour of the States in 1974, Patti Smith supported them at a Whisky A Go Go concert whilst they in turn were the warm up band for such luminaries as Billy Joel, Fleetwood Mac, The Doobie Bros and Linda Ronstadt. This increase in their profile resulted in their second album reaching No.3 in Billboard’s “FM Action” chart in October 1974 though major commercial success eluded them. Album No.3 “Too Many Crooks” was once again produced by Gilmour and featured a song called “No Way Out Of Here” that Gilmour eventually recorded for his eponymous 1978 solo album. Despite more lucrative support stints with John Entwistle, Hawkwind, Nils Lofgren, Steeleye Span and Dr.Hook and a 4th album (co-produced by David Gilmour with Muff Winwood) entitled “One More Tomorrow” that featured no less than 3 singles chosen by DJ Johnny Walker as his “singles of the week”, by 1976/77 punk rock suddenly made their music unfashionable and Harvest dropped them from their roster. As Gilmour has said “they just weren’t prepared to compromise their music to better fit into the competitive world of popular music”. A proposed move to the USA failed to materialise and they eventually split. Very much a story of a talented bunch of musicians with a heavy endorsement by a music heavyweight, but who subsequently failed to gain any real commercial success during their career.

Portrait made another of their very popular appearances at the Psyco Discotheque. The boys whipped up excitement with powerful vocal harmony versions of many chart favourites new and old, among them “Coz I Luv You” (giving Slade a run for their money) and “Witch Queen Of New Orleans”. A Rolling Stones medley found particular favour with the large gathering and no-one could understand why the outfit have not yet had a smash record….(30th November 1971)

This Friday the Psyco Discotheque reverts to reggae following the impact of two coloured units from the Bristol area – Private Number and The Untouchables. On stage this time will be Enterprise, who are also coloured and hail from the Bristol district…(30th November 1971)

Taunton group Hook were a late booking for College Promotions dance at Bridgwater’s Blake Hall on Friday…(7th December 1971)

At the Sydenham Community Centre, Bridgwater, there’s a busy weekend ahead with a group on Friday and another the following night to herald the start of their Christmas festivities. The Centre’s Psyco Discotheque on Friday will present reggae attraction, Black Carnival, who hail from Bristol and had to buy new gear when their old equipment was pinched during a trip to Italy last Summer. Saturday will see a very interesting booking for the Christmas edition of the Centre’s 23 Crowd Discotheque. Taunton group Hook have been secured and for this one night will be changing their name to Bill Bailey and The Rockets to go through their entire rock and roll scene. Definitely something the over 21’s should not miss…..(14th December 1971)

“This date proved conclusively that there is still plenty of life in the disco scene providing that the right entertainment and atmosphere is presented and groups realise that they are engaged to entertain the customers, not just themselves”. (Roy Brogan) Roy added that he wished to apologise to the many people who were disappointed after the “full house” notice had to be put up, but he pointed out that there was a limited capacity and if one wished to be sure of a place at the 23 Crowd, it was wise to come early.

For their Christmas concert at the Blake Hall, Bridgwater, on Friday, College Promotions are bringing back UFO, the group who scored such a hit on the opening bill presented in August. One of the heaviest bands on today’s contemporary music front, UFO have notched up singles sales in excess of three-quarters of a million around the world – yet are still awaiting their first British chart success! They have had number one discs in Israel, Singapore and Hong Kong and this Summer toured Germany, where their revival of the old Eddie Cochran rocker, “C’mon Everybody” was an outright smash. But perhaps their greatest following is in Japan. Some 135,000 copies of their first album, “UFO Number One” were sold to the Japanese and a few months ago they went on a trek across the land of the rising sun with America’s Three Dog Night. UFO, whose debut L.P. has now been released in the States on Tamla Motown’s Rare Earth label, consist of Phil Mogg (vocals), Mick Bolton (lead), Pete Way (bass) and Andy Parker (drums). On Friday they are almost certain to include their latest U.K. single, “Prince Kajuku” and “Boogie For George”, which is now virtually a rock standard.

UFO
17th December 1971

At the Sydenham Community Centre, Bridgwater, there is a Christmas party disco with deejays from the Centre’s Psyco, 23 Crowd and teenyboppers’ discotheques. Guest group will be Grapevine, a four-piece fully professional outfit who have made radio and television appearances and done some recording. Formed three years ago, they play commercial pop music and have appeared at all the leading cabaret rendezvous….(21st December 1971)

The Community Centre’s Christmas party dance was well supported and visiting group Grapevine impressed with their polished vocal harmonies. Although mostly concentrating on album numbers. the quartet included “Maggie May” and did particularly good versions of “Liar” (Three Dog Night’s American hit) and, to round off the evening, “Born To Be Wild”.

There will be a New Year’s Eve dance featuring Bristol reggae crew Black Carnival at the Town Hall, Bridgwater, for Wellworthy Carnival Club…..(28th December 1971)

PIONEERING A NEW YEAR
After a lengthy period of record shows only, the New Market Discotheque, Bridgwater, returns to “live” entertainment on Saturday and start 1972 in grand style by bringing back The Pioneers. The group, who are exponents of reggae, last appeared at the venue in September, when their single “Let Your Yeah Be Yeah”, was riding high in the charts. Now, the outfit have a new offering, “Give And Take”, which was written and produced by Jimmy Cliff and will almost certainly be performed by the boys at the New Market. The Pioneers are Sidney Crooks, Jackie Robinson and George Agard. The group formed in the mid-1960’s and sprung to fame via their recording of “Long Shot Kick The Bucket”. Playing everything from deep soul to reggae, they have appeared at several major night clubs as well as clubs and ballrooms and have also toured Europe. Last week they were taping sessions for broadcasting on Radio 1.