Top Twenty Club

Origins

2010-09-10T06:59:00.000-07:00

In the great global scheme of things, Rock N'Roll's origins are not that easy to track down. We know that it's an American invention, we also understand that it was conceived from a successful amalgamation of Rhythm N'Blues and Country & Western. But it's emergence was not something that happened overnight, it was always evolutionary rather than revolutionary. Theories abound as to what the first rock n'roll record may have been but no-one really knows for sure. As comedian Rich Hall recently put it “Trying to determine when rock n’roll was formed is like trying to work out when blue turns to purple”. Tracing the UK's rock roots however is a little easier as pre-1956, we didn't have ANY kind of rock culture in this country at all. If we take a look at the records that reached the top of our singles charts during the 12 months that spanned the year of 1955, one discovers, hardly surprisingly, a proliferation of crooners both male and female. Some of these, such as Dicky Valentine and Rosemary Clooney, were descendants from the big band days, whilst Tony Bennett, Ruby Murray and our own beloved Jimmy Young, were carrying on the singing traditions that had been around for years but which were rapidly about to become out of date. On the 25th November Bill Haley's "Rock Around The Clock" suddenly appeared from nowhere to achieve No.1 status and remained in that position for 3 weeks before finally succumbing to the vocal charms of the aforementioned Mr.Valentine on the distinctly seasonal "Christmas Alphabet". One imagines that Haley's record, apart from sounding like nothing else that had preceded it, was regarded by many as nothing more than a "novelty hit" and there were certainly enough of those around in the charts at the time with which to keep it company. Haley's cameo appearance in our Top 5 did not exactly suggest a forthcoming musical "revolution" but as we know, this was literally the tip of a very large iceberg. During the following year, the music of Elvis Presley, Jerry Lee Lewis, Little Richard, Carl Perkins & Fats Domino flooded the UK airwaves and at that point all hell broke loose.

Lonnie Donegan was UK's first musical pioneer, but even though the product he was peddling - skiffle - was based on black American music, it ironically became a predominantly British invention. It has been suggested that skiffle was "discovered" by the English trumpet player Ken Colyer after he had visited New Orleans in the early Fifties, but this isn't strictly true. The word "skiffle" had been around for about 30 years by the time Colyer had stumbled across it though it's origins remain obscure. A number of theories exist regarding it's birth, but in musical terms it would appear to have originated during the early part of the 20th century and was a combination of both jazz and blues as played by jug bands, a loose aggregation of musicians that used instruments such as the jug (fairly obviously), the washboard, the tea chest bass, kazoos, the fiddle, and the musical saw, as well as more conventional instruments such as acoustic guitars and banjos. In order to add to the general confusion, this style of music was not actually called "skiffle" at all, but it does bare a very strong resemblance to the Colyer template that became so popular in the 1950's. As for the term "skiffle", it was one of many slang phrases primarily used to describe the music that was played at "rent parties" by black immigrant workers living in the cities of North America. It was first recorded in Chicago in the 1920's, and may have been brought there as part of the great African/American migration that occurred around this time. The first use of the term on record was in 1925 as performed by Jimmy O'Bryant and his Chicago Skifflers and thereafter it appeared as a general description for country blues records though the legendary Ma Rainey used it to describe her repertoire when performing to rural audiences. The term disappeared altogether from the American music vocabulary in the 1940's - Colyer's own version was somehow a mixture of all of the above, but was primarily a combination of two strains of Americana. Traditional American folk music and the blues. There may be claims that the British jazzer had invented a vibrant new genre when skiffle first raised it's head in 1954 but even though the majority of British audiences had not previously experienced this music first hand, this was not the great discovery that some people may have suggested. In was in fact a British take on a form of American traditional music that had largely been discarded and was waiting to be re-discovered. Having experienced New Orleans vibrant music scene personally, Ken Colyer's stint in America appears to have fired the young trumpet player's imagination to such an extent that he consequently returned to the UK in 1952 armed with a large selection of new/old songs and a great deal of enthusiasm.Upon his return, artists like Big Bill Broonzy and Leadbelly were soon important names to drop with the latter, a twice-reprieved murderer, having been discovered by the pioneering musicologist Alan Lomax whose field recordings of Black American artists had begun to trickle across the Atlantic into the UK at roughly the same time as Colyer's return. With artists like Broonzy, Lonnie Johnson and the duo Sonny Terry & Brownie McGhee playing in London during the early 50's the stage was set for a new music revolution in Britain. A host of young British jazz musicians began replicating this roots music in their own inimitable style whilst adding a few ideas of their own. Colyer’s brother apparently coined this "new" music "skiffle" and with the catalogues of various American artists being plundered unashamedly (it was Leadbelly who had recorded the original version of "Rock Island Line" and Anthony Donegan became "Lonnie" after he had appeared with Lonnie Johnson at the Royal Festival Hall in 1952), the music suddenly became a curious fusion of Black American rhythms, and England's own folk and jazz music traditions. The Brits, as they always have done, took what the Americans had originated and added their own unique twist to it, augmenting American arcania with a UK equivalent. Becuase of this, Alan Lomax himself has suggested that Skiffle was almost as British as the Union Jack.Donegan became Chris Barber's banjo player in 1953, and after Ken Colyer's return from the USA he too joined the line-up, his influence becoming so significant that the group changed it's name to accommodate Colyer's arrival. Donegan and two other members of the "Ken Colyer Jazzband" as they were now called, began introducing "skiffle" sessions during the interval at their gigs, and pretty soon these were proving to be exceptionally popular.

KEN COLYER JAZZ BAND - This Train (1954) (live at The Royal Festival Hall) (this track, which incidentally starts after a 10 second gap, not only features Donegan prominently but also includes a brief description of skiffle's origins from Ken Colyer himself.)

Skiffle, however, didn't last very long.

Donegan, buoyed by the success of these musical skits, had a No.1 hit with "Rock Island Line" in 1956 and by doing so created a huge wave of interest that not only spawned other professional skiffle bands like the Chas McDevitt Group and The Vipers but inspired teenagers all over the United Kingdom to take up thy washboard and rock. It's easy to see why skiffle was so popular. It was simple to play, infectious, rhythmic and perhaps most importantly, cheap. Musical instruments could be fashioned from bits and pieces discovered in your parents back garden. But on the down side, it was also repetitive with one skiffle song arrangement sounding much like another and even though the BBC popularised it by introducing the program "6:5 Special" to our TV screens in 1957, by the end of that year skiffle had already seen better days as a commercial success. Donegan continued to have hits but probably realised more than anyone that it was a dying art form and began recording novelty songs like "My Old Man's A Dustman" and “Does Your Chewing Gum Lose It’s Flavour On The Bedpost Overnight”, the latter a song that Leadbelly would have undoubtedly killed for again, if only to avoid. As Karl Dallas writing for the encyclopaedia "The History Of Rock" stated "The record sales for the skiffle movement never reflected the level of mass participation. Skiffle was meant to be played, not listened to."

LONNIE DONEGAN - Lost John (1955)

And skiffle was played, by thousands of individuals, the length and breadth of the country. From John Lennon's Quarrymen in Liverpool to The Dick Teague Skiffle Group in London featuring a young vocalist called Harry Webb. From Van Morrison's Sputniks in Belfast to the Roger Daltrey-led Detours featuring Pete Townshend and John Entwistle, also from the capital city. Even a young 13 year-old whippersnapper called Jimmy Page could appear on television playing skiffle as he did on the BBC-TV talent program "All Your Own" in 1957. (Host Huw Wheldon "And what do you want to do when you leave school?" Young Master Page "I want to do biological research"

)

So what did all of this mean to a small market town like Bridgwater? Well, not a lot actually. Even though the sudden popularity of skiffle might have been responsible for creating a lot of would-be Presley’s there is no evidence whatsoever to suggest that any of them came from my home town. Of course there must have been some individuals within the locality who picked up on the new fad but due to it's geographical location and size, a town like ours was never going to provide the UK with the "next best thing". Bridgwater was also a little slow in presenting both skiffle and rock n'roll to it's wild and willing audience, though in that respect it was also no different to any other town of similar size and stature. By all accounts the first attempts to create a “scene” based around this latest musical fad was a Rock N’Roll club that ran on a weekly basis at the old Rex cinema or "The Bug House" as it was referred to locally. Largely run by word of mouth, it provided the opportunity for local punters to dance to 78's played on an old wind up gramophone.

The Top Twenty's Bridgwater story begins in 1960 but leading up to the period just before it's debut a quick thumb through the Bridgwater Mercury's archives confirms that for a small industrial town in the middle of Somerset, Rock N'Roll did not exist. "Trad Jazz" was supposedly the choice of music amongst young people at the time and even though it enjoyed a brief renaissance in the U.K. during the early 60's it was only as an alternative to the pop music that was still dominating the British singles charts. In June 1960 the Bridgwater Round Table put on an "Open Air Festival of Modern & Traditional Jazz" at The Rugby Ground at Taunton Road with Johnny Dankworth and his Orchestra as headliner. The festival was a financial disaster and reported a loss of £250.00, undoubtedly a lot of money in those days. As the Mercury reported "The festival had everything - except cash customers. Two top-line bands were engaged and every detail of organisation was perfect. But only 1,000 people passed through the turnstile instead of the 2,000 needed to clear expenses or the 6,000 hoped for. Mr.G.E.Horsey an officer from the Table told the Mercury "We thought we were giving the modern teenagers what they wanted, but we were wrong. Whether they don't want live shows and prefer their entertainment canned all the time I just don't know" There could have been several reasons for the lack of interest shown but I would guess that the Round Table had simply misjudged what the "modern teenager" was actually listening to. Trad Jazz's resurgent popularity coincided with the appearance of Dankworth in our home town but as a "modern" culture it may have been marketed as a "young person's" music but it's image of bowler-hatted beardies wearing dickie bows and sparkly multi-coloured waistcoats always seemed far too square and middle-aged.

There was, it seemed, a gap in the teenage market but it took an individual from Wiltshire to fill it.

Beginnings

2009-09-29T15:19:00.001-07:00

Graham Alford was a music enthusiast who, during late 1955/ early 1956 worked as a TV & radio apprentice in a shop called "Frank’s Radio & Television" situated in Fore Street, Trowbridge, his home town. For lunch, Graham's boss would depart for his customary one-hour break and the shop was left in the hands of the young teenager. Somewhat bored by the lack of frenzied shopping activity, Graham took advantage of the absence of his immediate superior by listening to records on the store's radiogram at full volume. This soon attracted an eager audience, the core of which were mostly old mates from his schooldays. Despite being just a lad himself, it did not take long for Graham to understand the old adage "supply and demand" and sensing that local kids wanted the opportunity to listen to chart music in a social setting, in October 1956 he booked a "record hop" in Trowbridge's Co-Op Hall, advertising the shindig by placing poster's in the town's local coffee bars and by taking out an advert in the local newspaper “The Wiltshire Times”. The Co-Op Hall boasted a capacity of just 80-100 but Graham's opening night attracted twice that amount. The local press reported the following; “A capacity crowd of popular music fans welcomed the opening night of the “Top Twenty Club” at the Co-Op Hall, Trowbridge, last Friday evening. The resident compere Paul Goldsworthy, began the evening by introducing a varied and interesting selection of the latest popular records. The crowded floor soon showed that the Club members preferred to dance to the music of their favourite artists. After the interval, the Two Plus One Trio was well received by the audience. They will be a popular Club band. The Top Twenty Club will be continuing this week with the resident team and new members will be welcome. Mr. G. Alford is the promoter, and records were supplied by W. H. Sims Ltd".

After enjoying a successful run that lasted for about 2-3 weeks, his Friday night bookings began to cause traffic problems in the town centre. Under pressure from the local constabulary and no doubt realising that a bigger venue was required to satisfy the social tastes of this new audience, Alford automatically switched his attention to the bigger Town Hall, which was not only double the size of the previous venue but was conveniently situated away from the traffic sprawl of Trowbridge's centre, thus alleviating any congestion problems. The cost of hiring the hall was a miserly £6.00 per night – money well spent. Once again The Wiltshire Times reported dutifully. “During the past few weeks the young people of Trowbridge and the surrounding district have been flocking every Friday evening to the Co-operative Hall where for three hours they have been able to listen to their favourite melodies, and coo over the latest singers. The numbers that have attended these meetings of the “Top Twenty Club” have far exceeded the wildest expectations of the organisers and as a result of the crowding at the present premises they have decided to hold all future meetings of the Club in the large hall of Trowbridge Town Hall. The organisers regret that there will be no club this week as the hall was booked before the club was formed, but next Friday, November 16th, the club will be held at the Town Hall, when a Latin American Band will be in attendance.” (The advert above included the following message; "The very large number of enthusiasts makes it necessary for The Top Twenty Club to move to a Larger Hall. The Club will in future hold meetings at The Town Hall, Trowbridge. Watch for details.") The potential of the Town Hall was a significant improvement on the Co-Operative’s cosy but cramped floor space with an opportunity to shoehorn approximately 400 brylcreemed boys and bobby-soxed girls onto it’s dance floor. Result? Another packed audience, with some kids queuing up during the afternoon of the Friday night bash. The average age of the typical Record Hop punter was 16-18 years old. No alcohol was consumed on the premises (though it was possible to sink a few beers in the local beforehand), it was free tea and sandwiches at the Co-Op Hall though Coca Cola was available at the bigger venue, courtesy of a local milk bar who, sensing an opportunity to make some money, quickly became a permanent fixture. Sandwiches and security were supplied by Alford's parents with Graham’s mother very much to the fore. Teens wearing the wrong haircut were omitted. Leather jackets were not permitted, belts were strictly off limits, stiletto heels were not allowed on the dance floor. Everything was kept on a very tight leash. Alford meanwhile was a veritable one-man band, in charge of the entire evening's entertainment. He DJ'd, spinning records that mostly came from an already sizable collection, the majority of which were purchased from W.H.Sims, the local Trowbridge record emporium, though such was Graham’s enthusiasm for music, other items were imported from the USA. As lighting equipment was not readily available back in those pre-disco days, the necessary club "atmosphere" was provided by a DIY rig that Alford had cobbled together from various bits of electrical equipment and which was operated by the pressing of keys in time with the music. A little later, as these weekly meetings became a regular fixture, professional equipment was purchased from the local Rank Organisation. During it's heyday, coaches came from Midsomer Norton, Bath and Radstock to these Trowbridge shows, with most of them filled with factory girls from the surrounding area. As one early Top Twenty punter stated "If you didn't get there at a reasonable time, you didn't get in" There were frequent punch-ups at these early gigs though whether they were inside or outside the premises is not known.

Business prospered, but Alford was always looking one step ahead. In hindsight, making the transition to live performances was a fairly obvious move, however the decision for introducing artistes to these teenage bashes was not arrived at by solid business acumen. Graham found these record-spinning evenings too much like bloody hard work. By combining live music with his DJ'ing it afforded him the opportunity to take a breather in between stage performances. Live bands had been part and parcel of the Top Twenty set-up from the very beginning. An early favourite were the “Two Plus One” Trio. The 2+1’s were a three piece from Trowbridge that featured Shorty Weston on piano, Vic Rees on Alto Sax and Carl Hoar on drums. They could be obtained for the princely sum of 30 shillings and were consequently relied upon to entertain the crowd by banging out a variety of rock n’roll standards whilst Graham lined up the next batch of 45’s. They were almost a permanent fixture at these early shows but gradually Alford began introducing other bands, most of which appear to have been taken from the local vicinity and the burgeoning skiffle scene. Bands like The Moonrakers from Devizes (whom Graham believes enjoyed the novelty of having a single released nationally), The Johnny Rebb Group, Johnny McEllen & His Trio, Jack Steeds & His Band, The Saints Skiffle Group, and the Rod Price Combo appeared frequently. The latter hailed from the thriving metropolis of the capital city and apart from apparently being recommended to Graham by someone connected to the 2 I’s Coffee Bar, in Compton Street, Soho, they arrived fresh from appearances on both “6.5 Special” and “Cool For Cats”. Price was a particular favourite with the female members of the audience who screamed uncontrollably at the singer’s performance. It is not known whether the latter would have been a professional group, but Graham would occasionally attempt to push the boat out and make an effort to bring in more established artist’s to Trowbridge, though the days of doing so on a regular basis were still some way off in the distance.

As an example, in order to celebrate the completion of the Top Twenty’s first season, on Sunday April 26th 1957, the Top Twenty Club welcomed Acker Bilk and his Paramount Jazz Band to Trowbridge with The Moonrakers as support. Bilk’s jazz band was, at this point, barely one year old, the clarinettist having originally played in Ken Colyer’s group from 1954 to 1956. Bilk was to eventually enjoy a string of 11 successive hit singles in the UK but at the time of his Trowbridge performance, Acker’s career was very much in it’s infancy and “Stranger On The Shore”, the song for which he is most remembered, was still 5 years away from it’s birth. On this April evening, for the sum of just 5 hard-earned shillings, you were promised 4 and a half hours of solid entertainment at what turned out to be a hugely successful concert. The Wiltshire Times were there and a report of the gig appeared in the May 3rd edition of the paper under the slightly bewildering title “JAMBOREE OF ROCK N’ROLL” From what I remember, Bilk wasn’t known for his Little Richard impersonations, but in these embryonic days of British popular music, you could book an act like the bowler-hatted Bilk, call it rock, and still get away with it.

"Last Friday a capacity crowd attended the Top Twenty Club at the Town Hall, Trowbridge, where as a climax to the season a successful Rock N’Roll Jamboree was held. The main attraction of the evening was the Paramount Jazz Band, which was supported by the Moonrakers Skiffle Group, with Paul Goldsworthy the resident compere. Under their leader, Acker Bilk, the Paramount Jazz Band played an exciting brand of jazz in the real New Orleans tradition. Some fine clarinet playing from Bilk and a good rhythm section gave the band a prodigious swing. They received a great welcome from the crowd, who certainly seemed to enjoy Bilk’s style of jazz. During the course of the evening the club promoter, Mr.Graham Alford, gave prizes to the first and last members to join the club. These were Miss Gloria Perrett and Mr.John Ingram respectively. A presentation was made to Mr.Grant for all the help he has given the club. Fourteen other prizes were given to the winners of the lucky balloons. From the opening night last October to last Friday, April 26th, the Top Twenty has had an amazingly successful run. The full houses week after week have proved that the organisers, Graham Alford, David Deverall and Paul Goldsworthy, have given the public what they want. Next winter it is hoped that this success will continue and no effort will be spared to give the young people of Trowbridge good value for their money. The organisers would like to thank many people for their kind help and co-operation during the last season. It is impossible to name them all, but there is room to thank the following; W.H.Sims Ltd for their kind assistance on the record side; Benjamin’s Music Saloon for the use of their piano, and The Milk Bar* for the excellent refreshments provided for the Jamboree. Also many thanks to the Council members and the Police Force for their co-operation. Mr.F.Farr (Franks) who supplied the amplifying equipment, Mr & Mrs Blaber, who ran the club’s cloakroom so efficiently, and last but not least, the doorman, Mr.Hervin”

* The Milk Bar in Trowbridge's centre, run by Jack Courtenay & his wife, and where "one cup of coffee used to last all night" was apparently the hottest joint in town for Trowbridge's teenagers.

The Top Twenty rumbled on through the latter part of the 50’s and seems to have stuck to a fairly rigid formula though Alford was not afraid to cash in on whatever was happening in the pop fraternity at the time. On 25th September 1957, there was a special “Tommy Steele evening” in celebration of the singer’s first year in showbiz. The Wiltshire Times advert seems to, perhaps deliberately, suggest that Steele himself was about to appear at the venue. The chirpy cockney entertainer, at the peak of his powers at this point in his career, was always going to be out of Alford’s league but this did not prevent the club owner from using the star’s name in an effort to attract teenagers to his regular Friday night bash.

October 1958 heralded the introduction of some artists that had not appeared previously with The Martell Bros (“UK’s answer to The Everly’s”) appearing on the 17th and The Coasters Skiffle Group (another group used frequently by The Top Twenty) appearing one week later. On the day of The Coasters gig, an interesting offer was made to Top Twenty patrons. “SEE US ON THE TV SHOW OH BOY!” On November 8th at London ITV Studios. “Oh Boy!” was the first television program to focus entirely on teenage popular music and was first broadcast on ITV in 1958, running for about a year. A Jack Good project, he had previously co-produced the show “6.5 Special” for the BBC, but became increasingly frustrated by Auntie Beeb’s insistence that the program’s high-spirited, energetic show format be toned down. The BBC incensed Good by introducing a mixture of jazz and classical music into the program along with slots for film, sport and current affairs. Jack resigned as an outcome, defecting to BBC’s rivals, ITV. Having retained the best bits of his old program but placing a heavier emphasis on the burgeoning success of Rock N’Roll, ABC gave Good two trial broadcasts in the Midlands for his latest venture and eventually granted him a 30-minute weekly slot that was broadcast live from the Hackney Empire. Placed in direct competition with “6.5 Special” on the other channel, it’s success was immediate and heralded the demise of Good’s old show which was still using skiffle as it’s musical template. Oh Boy’s resident musicians included Cuddly Duddly, Cliff Richard (who became a star due to his 20 appearances on the show), The Drifters (later to become The Shadows) and Marty Wilde whilst dancers The Vernon’s Girls (featuring Wylde’s future wife) added some sexy glamour to the proceedings. Despite it’s success, the show’s run on TV proved to be short lived. In 1959 ABC were informed that they could no longer use the Hackney Empire, and Good and his crew were shunted off to Manchester, which wasn’t a terribly successful move as the studio was ill-equipped to deliver the sort of show that Good demanded. ABC were also keen on a new program called “Boy Meets Girl”, which was effectively a watered-down version of it’s predecessor and after “Oh Boy’s” final broadcast on 30th May 1959, the new show, hosted by Marty Wylde, eventually aired 4 and a half months later.

OH BOY! - 4th April 1959

Songs featured; "It's Late" - Dean Webb - "He's My Own" - The Vernons Girls - "Good Rockin Tonight" - The Cutters & entire cast - "Long Gone" - Lord Rockingham's XI - "Charlie Brown" - Neville Taylor & The Cutters - "Oh Wait For It Baby" - Cherry Wainer

Regarding this latest Top Twenty extravaganza, it may well have been advertised under it’s banner, with the advert cleverly suggesting that the studio visit was “by courtesy” of Jack Good himself but it was not actually a Graham Alford booking. A local guy called Tony Price was behind the idea and having done a deal with a local coach hire firm to ferry the excited teenagers to their destination, he was allowed to use the Top Twenty as a front for the venture.

At this point in the proceedings, Alford was making in-roads into checking out people in the music industry who could help him to improve what was still a local business operating from the cosy confines of the sleepy Devon town. In this respect Graham proved extremely successful, going straight to the top and contacting directly some of the major movers and shakers of the British pop scene. Pretty soon Graham had begun to assemble a list of people that he felt could provide him with what he needed and first up was Tom Littlewood who ran the 2 I's Coffee Bar in London.

The 2 I’s will forever be regarded as an integral part of Britain’s pop music history. Situated at 59 Old Compton Street in the old Soho district of London it was originally owned by two brothers called Irani (hence the name) but on April 22nd 1956 it was re-opened by two ex-wrestlers, Ray Hunter and Paul Lincoln, the latter of which once worked under the name “Dr.Death”. It was Dr.Death and his cohort who came up with the idea of using the coffee house’s basement for live performances and skiffle band The Vipers (which included a young singer called Wally Whyton) became the first group to earn a residency there. During a break at a Vipers gig in September 1956, a young upstart called Thomas Hicks appeared on stage and launched into Presley’s “Heartbreak Hotel”. Agent John Kennedy had been invited to the venue by one of the coffee bar’s co-owners in order to check out the main attraction but after witnessing Hicks’ impromptu performance, Kennedy signed him up. A repeat appearance at the same venue was specifically arranged for Decca’s A&R man Hugh Mendl and within a month “Rock With The Cavemen” by Tommy Steele was in the shops and “Britain’s first rock star” was born.

From that moment on, The 2 I’s became synonymous with stardom and discovery and consequently 100’s of star-struck hopefuls flocked to the venue from all over the country in the hope of becoming the “next big thing”. Also appearing regularly at this Musical Mecca were promoters such as the previously mentioned Jack Good, Larry Parnes and Don Arden who consequently hoovered up any singers who were deemed to be good enough to make the grade and artists such as Cliff Richard, Terry Dene, Adam Faith, and Vince’s Eager and Taylor were all “discovered” by appearing there. Littlewood, a judo instructor by trade, took over the 2 I’s in 1960, and managed some of their artist’s including the unpredictable Vince Taylor who appeared in Bridgwater in 1962. Alford visited London by train, seemingly on a regular basis, and struck up a friendship with Littlewood, whilst also being introduced to Larry Parnes and others. These managers were keen on the idea of promoting their talent in the South West of England and consequently Alford was given access to some of them, though most of the more stellar singers were undoubtedly well out of his price range. One of the first acts that Alford was given was Tony Sheridan, not an established artist by any means but a useful Presley-inspired singer who primarily backed a number of the 2 I vocalists on guitar, one of which was a pre-Drifters Cliff Richard.

Sheridan had been a 2 I’s regular for 6 months and was also a permanent fixture on “Oh Boy!” but despite earning his spurs as a talented musician his somewhat erratic time-keeping earnt him the reputation of being somewhat unpredictable and untrustworthy. His band was given an engagement at The Star Club in Hamburg, Germany and even though Sheridan’s group eventually returned home, Tony decided to stay on. As it happened, some scruffy young urchins from Liverpool called The Beatles had just been offered an engagement at the nearby Indra club, and unsurprisingly, their paths crossed, with Sheridan being regarded by the Pre-Fab Four as something of a guitar hero. If you are familiar with your Beatle history, you’ll know what happened next. Alford, booked Sheridan to play at The Top Twenty on January 16th 1959 and again on May 1st, about a year before his German engagement, after which the guitarist did not return to this country for another 3 years. Sheridan’s part in Beatle history almost never happened as he was almost electrocuted at Trowbridge, receiving a nasty shock from his “live” guitar during the afternoon’s sound check. During the evening’s performance, Sheridan, like most of the artist’s to appear at The Top Twenty at that time, would play in 20 minute segments, interspersed with Graham’s discs and an appearance by the perennial “2+1 Trio” or some other support band. During his May performance, Sheridan appeared with The Lonesome Travellers and the equally wilfully obscure “The Boppers”

CHRIS ANDREWS - Move It (with Tony Sheridan on guitar)

After the 1959 summer break, The Top Twenty returned with a brand new logo that was directly lifted from the film poster of the recently released “South Pacific”. On September 18th 1959, Geoff & Ricky Brooks – probably the nearest that the UK ever got to a bona fide Everly Brothers duo - made the first of a bewildering 4 appearances spread over a 4-month period. The Brook Brothers returned on the 16th October, the 14th November and 11th December and even though there may just be the chance that their return visits were due to “popular demand”, one could not blame the Trowbridge faithful for feeling a large touch of déjà vu by the time of their pre-Christmas concert. Other concerts towards the latter part of The Top Twenty’s 3rd year of office included The Chequers on October 5th, Daryl Grant & The Descants on the 20th November and a couple of artists who were later to grace the stage at Bridgwater’s Town Hall – Brian Fisher (October 30th) and Dale Rivers (December 18th)

By 1960, Alford had introduced various items during the evening’s proceedings in order to keep his teen audience entertained and amused. One of these was the “Record Request” spot. A post box was provided within the venue so that both guys and gals could ask for their favourite record to be played for whoever their latest squeeze happened to be. The lucky recipients not only had their request aired but were also given free tickets for the next gig. After an evening that usually lasted 3 hours, the end of the live entertainment usually occurred at 10.45 but a cafeteria situated on the right hand side of the stage was sometimes open until midnight. Punters were eventually asked to leave by playing the National Anthem. This was sometimes a useful tool if audiences were proving a little reluctant to depart as a quick burst of “God Save The Queen” would soon send them scurrying out into the street!

1960 turned out to be a year of great change for The Top Twenty though from Trowbridge’s point of view it was more of the same with further appearances by performers that Bridgwater were later given access to. Tex Roberg and Shirley Gaye from Len Canham’s roster of Southampton artistes appeared on the 22nd January 1960, Lance Fortune from the Larry Parnes production line appearing just one week later whilst a special “Expresso Bongo” night – celebrating Cliff Richard’s debut film appearance – occurred on the 19th February. However after establishing himself at Trowbridge Town Hall, an association that lasted for some 14 or 15 years, during 1960 Alford began to expand his empire. Chippenham & Stroud were the next towns to be conquered, gigs being held at the Neeld Hall Chippenham on Saturday evenings for the first time on January 30th 1960 with a concert by those hardy perennials Geoff and Ricky Brooks. The Transcription Rooms in Stroud on Wednesdays were added a little later, though concerts here were more sporadic. Bridgwater became the fourth venue to host Top Twenty concerts and was chosen because of it's similarities in size and population to Trowbridge and the fact that it was only 40 miles from Alford's Wiltshire residence.

From what I understand, Graham was only interested in the Town Hall as a venue though the smaller Blake Hall was possibly sounded out as an alternative. Still a keen record buyer, Graham paid visits to the two record shops that Bridgwater had back in those days, Taylor's & Acland’s, and no doubt nonchalantly mentioned his interest in putting on gigs within the town. Stan Barnett, who was Taylor's record manager at the time, was enthusiastic and got involved, primarily in a promotional capacity, though he was one of the people responsible for providing the music that was played at the Top Twenty's gigs and was occasionally employed as a taxi driver for some of the artists, most of which arrived in Bridgwater by rail*. However, Bridgwater's other record shop, Acland's, were also a part of the Top Twenty’s set-up at least initially and one imagines that it was here that Graham first encountered Carol Waterman, an individual who played an important part during the Top Twenty's early 60's period and who worked behind the counter at Acland's at this time. With both shops being promised “in-store” appearances from some of the club's stars, advertising The Top Twenty’s brand was an obvious move for them to make. The Town Hall may have been an obvious venue to use under the circumstances, with it’s 400 plus capacity and a large stage area but alterations were required in order to house live concerts. Graham tackled the problem with his usual gusto, purchasing drapes and much needed lighting equipment.

*Another method of transport was the "Top Twenty" Commer Van, advertised beautifully here by the glamorous Stephanie Austin, a compere at the Trowbridge Town Hall. There were apparently 3 or 4 of these 10-seater vans used over a period of time, all custom made by the curiously named Hebdon Knees garage. With Stephanie in the above photo is the Hebdon Knees owner, John Knee.

With customary aloofness, the arrival of the Top Twenty was not heralded at all by the Bridgwater Mercury. It's "entertainment" section incorporated sport as well as the arts back in those days, consequently there seemed to be more interest in the exploits of Bridgwater Town Football Club and the latest local skittle league scandals - reviews were only provided for the terribly highbrow Bridgwater Arts Centre's "music club" concerts.

In the Mercury's 23rd August 1960 edition, headlines on the front page included stories about a female charged at Bridgwater Crown Court with infanticide and a "shock horror probe" tale of assault under the film-noirish title "Midnight Scene at Saltlands Avenue". These were placed either side of a photograph of young women parading their plum puddings outside the Brent Knoll Inn (I kid you not.) Lost forgotten films "The Challenge" and "Never Let Go" were appearing at the Odeon whilst "Goliath" featuring Steve Reeves - advertised under the banner "1000 women dream of his embrace" - was The Palace Theatre's blockbuster for the week. Also included was an advertisement for a brand new venture. Regardless of any disinterest the local press may have shown for the club, The Top Twenty began with an absolute belter and Monday nights were never quite the same again for the next 6 years.

The Concerts

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1960

29/8/60 Johnny Kidd & The Pirates/Larry Boyd & The Davericks
5/9/60 Brian Fisher/Anne Beverley with the Four Strangers
12/9/60 Johnny Spencer & The Casuals/Gary Price/Pete & The Devils (local group)
26/9/60 Keith Kelly/Danny Davis/Lyn Tracey/Tex Roberg/The Strangers and The Semi-Tones (backing bands)
17/10/60 Dale Rivers & The Ramrods/Larry Boyd & The Davericks
24/10/60 Paul Hanford and The Rhythm Seekers/Clay Nichols & The Teenbeats
31/10/60 Barrie James & The Dominoes
14/11/60 The Brook Brothers/Barrie James & The Dominoes
28/11/60 Danny Hunter/Brian Fisher & The Strangers
5/12/60 Johnny Spencer & The Casuals
12/12/60 Michael Cox/The Hunters
19/12/60 No concert
26/12/60 No concert

1961

2/1/61 Danny Davis/Tex Roberg/The Nevitt Bros.
16/1/61 Lance Fortune & Screamin Lord Sutch
23/1/61 Johnny Spencer & The Casuals
30/1/61 The Nevitt Bros/Brian Fisher/Shirley Gaye
13/2/61 Sandra McCann/Johnny Gregg/The Antones/Mike Storm & The Comets
27/2/61 Dickie Pride/Pete Chester & The Consulates
6/3/61 Johnny Carr & The Cadillacs/Royston Jones & the Raiders
20/3/61 Vince Taylor & The Playboys/Di Mackay/Frank Kelly & The Crestas
27/3/61 Barrie James/The Nevitt Bros/Shirley Gaye
10/4/61 Danny Davis/Brian Fisher/Shirley Gaye with The Strangers
24/4/61 The Londons/Johnny Spencer & The Casuals
8/5/61 Johnny Carr & The Cadillacs/Dean Torrent & The Pressmen
15/5/61 The Brook Brothers/Barrie James
22/5/61 Billy Fury/Johnny Carr & The Cadillacs

4/9/61 Danny Davis/Brian Fisher/Shirley Gaye & The Semitones
11/9/61 The Antonnes/Sandra McCann/Mike Storm/Johnny Gregg & The Comets
18/9/61 Ricky Forde & The Cyclones
25/9/61 Johnny Carr & The Cadillacs
16/10/61 Johnny & Mike with The Shades featuring Jackie London
23/10/61 Paul Clayton & The Corvettes
13/11/61 Ricky Forde & The Cyclones
27/11/61 Duffy Power
4/12/61 Bobby Angelo & The Tuxedos
11/12/61 Royston Jones & The Raiders
18/12/61 Nelson Keene/Ricky Forde & The Cyclones/Carol Waterman/Dean Torrent & The Pressmen

1962

8/1/62 Johnny, Mike & the Shades
15/1/62 Danny Davis/Gary & Lee/The Paramounts
29/1/62 Sandra McCann/Mike Storm/The Antonnes/Lee Scott & The Comets
5/2/62 Johnny Carr & The Cadillacs
12/2/62 Ricky Forde & The Cyclones
19/2/62 Royston Jones & The Raiders
26/2/62 A Demonstration of the dance "The Twist"
19/3/62 Dean Prince & The Dukes
26/3/62 Barrie James/Sandra Laine/The Strangers
9/4/62 The Comets/Kim Taylor/The Antonnes/Mike Storm/Lee Scott
16/4/62 Ricky Forde & The Cyclones
30/4/62 The Shades
7/5/62 Mike Berry & The Outlaws
14/5/62 Dale Rivers & The Ramrods
21/5/62 Johnny Carr & The Cadillacs
28/5/62 Russ Sainty and the Fabulous Nu Notes

10/9/62 Duke D.Mond & The Barron Knights
17/9/62 Alan G.Read & The Statesmen
24/9/62 Colin & Bruce/The Detours
1/10/62 Barrie James/Pattie Knight/Gary & Lee/The Strangers
22/10/62 Dean Prince & The Dukes
29/10/62 Ricky Forde & The Cyclones
5/11/62 Johnny Carr & The Cadillacs
19/11/62 The Crestas with Mike Sagar
3/12/62 Erkey Grant & The Tonettes
10/12/62 Brian Poole & The Tremeloes

1963

7/1/63 The Barron Knights
14/1/63 The Federals with Tony Bolton
28/1/63 Dale Rivers & The Ramrods
4/2/63 Peter Jay & The Jaywalkers
11/2/63 The Tartans
18/2/63 Johnny Carr & The Cadillacs
25/2/63 The Dowland Bros with the Soundtracks
4/3/63 The Detours
11/3/63 The Original Checkmates
25/3/63 Nick Troy & The Trojans
8/4/63 Jerry Williams & The Violents
22/4/63 Gary Landis & The Rebels
29/4/63 The Dowland Bros and the Soundtracks
6/5/63 Peter Jay & the Jaywalkers
13/5/63 Johnny Milton & The Condors
20/5/63 Johnny Carr & The Cadillacs
27/5/63 The Barron Knights

2/9/63 Sounds Incorporated
9/9/63 The Fourmosts
16/9/63 Colin & Bruce with The Detours
23/9/63 Johnny Milton & The Condors
30/9/63 The Fabulous Tuxedoes with Bobby Angelo and Susan Terry
21/10/63 Wayne Fontana & The Mindbenders
4/11/63 Tania Day with the Rockin Rebels
11/11/63 Johnny Burnette
25/11/63 The Lonely Ones with Gene Anthony & Johnny Keepings
2/12/63 Shane Fenton & The Fentones
16/12/63 The Swinging Blue Jeans
23/12/63 Johnny Carr & The Cadillacs
30/12/63 Peter Jay & The Jaywalkers

1964

6/1/64 Carter-Lewis & The Southerners
13/1/64 The Rockin Berries
20/1/64 The Gamblers
3/2/64 Colin & Bruce with The Detours
10/2/64 The Dowland Bros with the Soundtracks/The Overlanders
17/2/64 The Rebounds with Vern Rogers
24/2/64 Chris Sandford and His Group
3/3/64 The Ramblers
17/3/64 Marty Wylde & the Wildcats
24/3/64 Eddie Langdon with the Cracksmen and "French Film Star" Brigitte Bond
6/4/64 Pat Wayne & The Beachcombers
13/4/64 Me & Them
20/4/64 Linda Laine with The Sinners
4/5/64 Robb Storme & The Whispers
11/5/64 The Barron Knights
25/5/64 The Rockin Berries
1/6/64 Rod & Caroline with The Solitaires
8/6/64 Dave Berry & The Cruisers
15/6/64 Wayne Fontana & The Mindbenders
22/6/64 Tony Bolton & The Federals
29/6/64 The Pretty Things
6/7/64 Ray Starr & The Cherokees
13/7/64 The Rebounds

24/8/64 The Cockneys
31/8/64 The Pickwicks
7/9/64 The Rustiks
14/9/64 The Original Checkmates
21/9/64 The Discs
28/9/64 The Escorts
5/10/64 Them
2/11/64 Wayne Fontana & The Mindbenders
9/11/64 The Mighty Avengers
23/11/64 Jimmy Powell & The Five Dimensions
30/11/64 Downliners Sect
7/12/64 The Paramounts
14/12/64 The Cymerons
28/12/64 Dave Curtis & The Tremors

1965

4/1/65 Wayne Gibson & the Dynamic Sounds
11/1/65 Pat Wayne & The Beachcombers
18/1/65 Wayne Fontana & The Mindbenders
1/2/65 The Long And The Short
8/2/65 Beat Merchants
15/2/65 Just Four Men
22/2/65 The Nashville Teens
1/3/65 Tommy Quickly & The Remo 4
8/3/65 Riot Squad
22/3/65 Naturals
29/3/65 Checkmates
12/4/65 Gamblers
26/4/65 The Who
10/5/65 Just Four Men
17/5/65 Peter Jay & The Jaywalkers
24/5/65 Toggery Five
31/5/65 Little Frankie & The Country Gentlemen
14/6/65 Shelley (Stuart, Richard, Geoff & James)
21/6/65 The Dennisons
28/6/65 Mike Sheridan & The Nightriders
5/7/65 Doug Gibbons & The Outcasts
12/7/65 Cops N'Robbers
19/7/65 The Measles
9/8/65 Lancastrians
16/8/65 The Riot Squad
23/8/65 The Mojos
6/9/65 Bo Street Runners
13/9/65 The Birds
20/9/65 Meddy Evils
27/9/65 The Cymerons
18/10/65 The Small Faces
1/11/65 The Downliners Sect
15/11/65 Gary Farr & The T.Bones
22/11/65 The Measles
29/11/65 The Emotions
6/12/65 Hedgehoppers Anonymous
13/12/65 The Mark Four
20/12/65 The Sorrows

1966

3/1/66 The Pack
10/1/66 The Swinging Blue Jeans
17/1/66 Dave Dee, Dozy, Beaky, Mick & Tich
24/1/66 Les Fleur De Lys
31/1/66 The Alan Price Set
7/2/66 The Beatstalkers
14/2/66 The Meddyevils
21/2/66 The Hot Springs
28/2/66 The Mindbenders
7/3/66 The Eyes
14/3/66 The Carnaby One Plus Four
28/3/66 Dave Dee, Dozy, Beaky, Mick & Tich
4/4/66 Tony Rivers & the Castaways
18/4/66 Paddy, Klaus & Gibson
25/4/66 The Action
9/5/66 The Nite People
16/5/66 Diane Ferraz & Nicky Scott
23/5/66 The Paramounts
6/6/66 The Quiet Five
13/6/66 The Sons Of Fred
20/6/66 The Troggs
27/6/66 The Knack
4/7/66 The Voids/Lindsay Dear
11/7/66 Danny Clark & The Force West
18/7/66 The John Bull Breed
15/8/66 Pete Budd & The Rebels
22/8/66 The Quiet Five
12/9/66 That Group with Bob Martin & Denise
19/9/66 The Ides Of March
26/9/66 The People's People
17/10/66 The Children
31/10/66 Rob Chance & The Chancers
14/11/66 Mike Raynor & The Condors
21/11/66 The Spectres

On the 5th December 1966, The Top Twenty became "The Bridgwater Discotheque"

The Artists 1960

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29th August 1960

JOHNNY KIDD & THE PIRATES

It was imperative for Bridgwater's new Monday night showcase to hit the ground running so booking someone substantial for this "Grand Opening Night" was of prime importance. With this first concert Graham Alford could not have done any better. From a Rock N'Roll perspective there was an awful lot of mediocrity in the British charts during the early 60's, especially when compared to the Beat Boom that at this point was still 3 years away. But in Kidd & the Pirates, fresh from a headlining appearance at Bristol's Colston Hall the night before, The Top Twenty not only succeeded in obtaining the services of an artist that was currently in the charts (always a vital advertising tool) but they were arguably one of the best bands operating in the UK at this time, offering an energetic rock n'roll alternative to the teenage ballads that were permeating the pop charts. Johnny Kidd (real name Frederick Heath) began his career in the skiffle group Bats Heath & The Vampires in 1956 and via The Frantic Four, The Five Nutters and The Fabulous Fred Heath Band, formed The Pirates in April 1959. Kidd not only wrote his own material which, apart from Billy Fury and possibly Marty Wylde, was a comparative rarity back in these pre-Fab Four days, but over a period of time he & The Pirates developed a live act that revealed a showy, slightly threatening stage presence. His eye-patch may have been used to conceal a squint whilst the band's striped jumpers undoubtedly milked the "yo-ho-ho" pirate image somewhat but Heath also wielded knives and a cutlass on stage, a gimmick that no doubt kept all those punters in the front row on their toes! Incidentally, in these politically correct days of "Health & Safety" it's interesting to note that Kidd was apparently forced to cease his swashbuckling antics as insurance cover became unobtainable. "Johnny would take out a cutlass while I was doing a heavy blues solo and at the crescendo he would throw it at my feet and it would stick into the wooden stage as part of the act. Johnny had the cutlass raised above his head, I looked down at the stage and realised that where the lino had been worn away, it was not wood but concrete. I nodded my head and yelled "no" but Kidd thought I was really getting into it and just threw it and it landed inches from my foot and bounced into the audience" Future Pirate Mick Green recalling an "incident" at the Cavern, Liverpool.

The band had secured a residency at the Wandsworth Town Hall and despite a disastrous performance at the venue in front of an A&R man from HMV were duly signed to the label after being given a second chance. During this time, Kidd had embarked on a frantic 3-month period of songwriting but it wasn't until "Please Don't Touch" emerged that he was ready to release something of substance, though the first version of the song was issued by a band called The Bachelors on Parlophone (no relation incidentally to that treacly trio from Southern Ireland.) Kidd eventually released his own recording of the song on the 8th May 1959 as his first HMV release and achieved a No.24 hit, though there were suggestions that if it had not been for a national strike, it would achieved a higher chart placing. Heath, however failed to capitalise on this excellent debut and his follow-up was a sugary version of "If You Were The Only Girl In The World" that, whilst being a staple part of his live show, on record made Kidd sound more like Max Bygraves than Brit rocker. The band was then re-shuffled in order to improve the strength of it's musicianship and a new rhythm section of bassist Brian Gregg and top session drummer Clem Cattini replaced the original incumbents. Only guitarist Alan Caddy was retained from the previous band and this was largely due to his Royal College of Music background. On the 13th May 1960, the "new" Pirates covened at the Abbey Road Studios to record a testosterone-fuelled version of "Yes Sir, That's My Baby" for their next "A"-side. Having been informed by EMI that the reverse of this single could be one of their own choices, on the day before the session, Kidd and the band retired to a cafe called The Freight Train in Berwick Street, Soho (owned by skiffle star Chas McDevitt) and in approximately six minutes co-wrote one of the great rock n'roll songs in British music history. The song was "Shakin All Over" and despite co-writer Brian Gregg suggesting that the band were mildly embarrassed by it, EMI wisely decided to promote it as the next single and it reached No.1 in June 1960, despite being voted a "Miss" on the popular TV programme Juke Box Jury. "Shakin All Over" was still in the charts at the time of their Top Twenty performance whilst the band's follow-up single, the somewhat similar, but still rather good "Restless" was issued just 1 month later. Despite being thrust into the limelight on the strength of these records, Kidd once again struggled to maintain career momentum and subsequent releases proved unsuccessful, but unlike a number of artists from the early 60's Kidd somehow survived the changing musical landscape and even though his Pirates eventually jumped ship, new recruits were press-ganged and what turned out to be THE classic Pirates line-up (which included the legendary Mick Green on guitar) released an excellent version of Arthur Alexander's "A Shot Of Rhythm & Blues" in late 1962 that pre-dated the Liverpool sound by several months and suddenly the band were back in business. They successfully negotiated the oncoming rush of Merseybeat by releasing two superb singles in 1963, both written by future Tom Jones manager Gordon Mills. The first "I'll Never Get Over You" deservedly reached the heady heights of No.4 whilst follow-up "Hungry For Love" got to No.20. But once again, instead of consolidating this success, Kidd's career floundered, despite turning out some decent material in a number of styles that were the equal of many a Beat band. After guitarist Green left to join Billy J Kramer's Dakotas, Johnny once more found himself out in the cold commercially with the record buying public seemingly reluctant to accept the singer as anything other than a leather-clad rocker from the "old" school, a situation that was not helped when Kidd made a blatant attempt to recall the glory days by re-recording "Shakin All Over" in 1965. By 1966, Kidd was on the verge of a comeback with yet another, promising 'New Pirates' line-up but on the 7th October, upon returning from a cancelled gig, a motor car accident in Lancashire tragically killed the vocalist whilst also injuring Pirate Nick Simper. Along with The Shadows, Johnny Kidd's music was more influential than any other British band from the early 60's and if there were such a thing as a British equivalent of the Rock N'Roll Hall of Fame then he would have to be in it. The Kidd story does not end with his untimely death however, as The Pirates (including Mick Green) re-united during the mid-70's for a series of acclaimed albums and concert performances. Riding on the coat tails of pub rock, their abrasive take on R&B updated the original Johnny Kidd sound whilst complimenting other bands like Dr.Feelgood, who were ploughing the same musical furrow. (In fact Dr.Feelgood were named after a Johnny Kidd "B" side whilst their bug-eyed guitarist Wilko Johnson's choppy, syncopated style was virtually an updated version of the Mick Green method of twanging.) Green remained something of a cult figure up to his death in January 2010 and played in Paul McCartney's band when Macca decided to go all retro with his "Run Devil Run" album in 1999.

JOHNNY KIDD & THE PIRATES - Shakin All Over (1960)

JOHNNY KIDD & THE PIRATES - Restless (1960)

The "Added Attraction" on this bill, as mentioned in the extremely small print in the advert above, was local band Larry Boyd & The Davericks (see 10th October entry below). Meanwhile, Graham Alford's only memory of Kidd's appearance was the singer's admiration for the new coat of whitewash that was being applied as he was doing his Town Hall soundcheck. Kidd, prior to buckling his swash as a leather-clad rock n'roller had been a painter and decorator. Incidentally, Kidd & His Pirates also appeared at the "5th Grand Opening Night" of Trowbridge's Top Twenty on the 9th September 1960.

"Before performing at the opening of the "Top Twenty Club" at Bridgwater yesterday evening, rock n'roll star Johnny Kidd made a personal appearance at Acland's record shop at 49 Eastover, Bridgwater. Placed high in the charts at the moment with his and the Pirates' recording of "Shakin All Over", Johnny signed discs and sheet music for many of the hundreds of teenagers who visited the shop between 12.30 & 1.30 p.m. One of Mr.Acland's staff told the Mercury that there was no rowdyism, in fact the young people appeared to be too shy to go and talk to the singer. Future performers at the "Top Twenty Club" include The Shadows - whose recording of "Apache" now tops the hit parade, Russ Conway, Alma Cogan and other artists who record for E.M.I. All the stars who perform at the club will also put in personal appearances at Acland's"

I'm not sure what happened regarding the promised appearance of the three E.M.I. artists mentioned above but unfortunately none of them played the Town Hall. Graham Alford, some 40-odd years later, admitted to being equally uncertain. Methinks it was either a spot of wishful thinking or an advertising ploy intended to drum up interest in the new venture. Instead, after the opening night's blockbuster, the Top Twenty settled into a routine of booking artists that were not necessarily household names but who were nevertheless professional and more than capable of providing good entertainment.

5th September 1960

BRIAN FISHER & THE RAIDERS

ANNE BEVERLEY with The Four Strangers

Whilst it may be tempting to believe that the "Brian Fisher" advertised could have been the very same that ran a successful hairdressing salon in the town centre for many years and that Anne Beverley was in fact Sid Vicious' mother.....different Brian Fisher....different Anne Beverley. This Fisher originated from that hot bed of Rock N'Roll - Southampton. A surprisingly high number of artists booked during the early Top Twenty days were from this part of the globe which suggests that a deal was struck between Graham Alford and the agency that owned the artists in question. Fisher & Beverley were both on the books of one Len Canham, a promoter who was at one point the manager of Southampton's Royal Pier Pavilion and Canham was to provide the Top Twenty with several other performers. Brian Fisher, to my knowledge, never got as far as securing a recording contract but according to Pete Broyd, another Canham-ite and leader of the band The Blackjacks, he should have done. "He was a very mature singer for his age and at a time when the rest of us were trying to emulate Elvis or Cliff he did his own thing. He favoured Jerry Lee Lewis numbers but the song we all remember Brian for was 'Do You Wanna Dance'. Brian was not one of the 'pretty boys' and perhaps for that reason he never quite made it" As early as 1962/63 rumour has it that Fisher had become weary of the music scene and had all but retired - but not before making a total of 5 appearances in Bridgwater. The (Four) Strangers were the proverbial backing band for practically all of the Southampton alumni and, as such, could possibly stake the claim of having played The Top Twenty more than anybody else. They were also, incidentally, Fisher's ex-backing group. Their most well-known line-up comprised of bassist Brian Oram, guitarist Tony Collier and drummer Brian "Fergy" Ferguson (they seem to have lost a Stranger somewhere along the way.) Collier is a veritable veteran of the Southampton scene and what's more is still out there. Can currently be heard in a band called Wishful Thinking who have recently reformed, in Collier's own words "after being apart for more than 150 years"

For a potted history of the "Southampton scene" go to www.davidstjohn.co.uk

12th September 1960

JOHNNY SPENCER & THE CASUALS

GARY PRICE*

PETE & THE DEVILS

Johnny Spencer & The Casuals were the first in a number of groups to play The Town Hall that hailed from that thriving metropolis Bristol whilst Gary Price would appear to have been a virtuoso member of The Casuals. As for Pete (and not forgetting of course his Devils) they were billed simply as a "local band" and were fronted, so rumour has it, by a guy called Pete Gibbs. Gibbs became an entertainer in Spain in the mid-1960's and by 1966 was signed to Parlophone Records though he also released several singles on the continent. His greatest claim to fame would appear to be that prior to his European jaunt he was in a London band called The Cliftons, whose bass player was a certain Bill Wyman (see 29th November 1966)

*Price was hailed in the Top Twenty advert as a sax-alphonist. He apparently played the saxophone as well.

26th September 1960

KEITH KELLY

Keith Kelly (real name Michael Pailthorpe) hailed from Selby and spent three years in the Royal Air Force before becoming an original member of the John Barry Seven as a vocalist/rhythm guitarist. After leaving in 1959 he sang at the famous 2 I's Coffee Bar in Soho where he was spotted by George Martin. Like a number of artists who played the Town Hall in the early days, Kelly appeared on the Parlophone label as a solo artist which is fairly interesting in itself as it dispels the myth that prior to The Beatles signing in 1962, Parlophone had no "pop music" roster as such and concentrated instead on releasing novelty and comedy records. His debut single "With You" appeared in early 1960 but it was the follow-up 'Tease Me' (which was apparently written by the singer on the London Underground) that made the charts, reaching No.27 in May. A car accident prevented Kelly from taking advantage of his new-found success, delaying the release of the next record and even though "Listen Little Girl" scraped into the bottom regions of the Top 50 in August 1960, the moment was lost. Kelly was by all accounts not only an exemplary musician (he was a particuarly fine chromatic harmonica player) but he also bore a passing physical resemblance to Buddy Holly. Later joined the Hull band the Keith Herd Rhythm Group and released one single for CBS in 1967.

KEITH KELLY - Tease Me (1960)

LYN TRACEY

("Miss Personality")

TEX ROBERG

Roberg was another singer that was on the Len Canham roster and in fact was one of Canham's first signings. South African born, Tex (real name Arnie) was often referred to as "South Africa's Elvis" and was later "discovered" playing at Butlins Holiday camp, eventually becoming one of a bewildering amount of artists that tried his luck in Hamburg, Germany. Whilst helping to satisfy the ravenous appetite for "beat music" that had occurred in that city after the initial influx of a number of English bands, Roberg not only holds the apparent distinction of being the first act to play at the infamous Star Club, but he also rubbed shoulders with the Silver Beatles during their early sex & drugs period. "In spring of 1962, garish red posters announced that the times of village music were over. Manfred Weissleder was to open the "Rock and Twist Parade 62" – that is what the poster said – on 13 April 1962 with his 'Star Club' on Grosse Freiheit 39 in Hamburg. This was to be achieved by a "clustering of the European elite" consisting of The Beatles, Roy Young, The Bachelors, and the South African 'Tex Roberg & The Graduates'. From May onward they were joined by 'The Tony Sheridan Quartet' and 'Gerry & The Pacemakers".

DANNY DAVIS

("Britain's Most Sparkling Teenage Artist")

The heavily brylcreemed Davis (who looks about 14 in the opposite picture), advertised by Graham Alford as "The most fantastic singing discovery since Cliff Richard" when the singer appeared at Trowbridge on July 12th 1960, also made records for the Parlophone label but his history is somewhat vague and consequently hard to track down. "You're My Only Girl" and "Love Me" were released on that label in 1960, the former just prior to the Town Hall appearance whilst the latter was a cover version of the Presley song penned by Lieber and Stoller. "Talkin In My Sleep" followed in 1961 and as the ad (right) suggests he was also signed to Pye, but none of his releases saw any chart action. Listening to the rather scratchy version of "Love Me", Davis not only sounds like a Cliff Richard clone but with all due respect, with his dodgy top register and a tendency to wander off key occasionally, it's easy to understand why he wasn't a great success. No doubt both of the 1960 releases were performed during his debut appearance at the Town Hall and at least by Bridgwater's standards he must have been a big star as he, along with label mate Kelly, appeared at both Aclands AND Taylor's Record Departments on the day of the gig.

Danny Davis with the Bridgwater Mercury's Mike Guy @ Taylor's record store.

DANNY DAVIS - Love Me (1960)

10th October 1960

DALE RIVERS & THE RAMRODS

Not to be confused with the Connecticut band of the same name that had a huge hit with "Ghost Riders In The Sky" in 1960 or the UK equivalent formed during the same year that hailed from Carlisle, this was another Bristol based group. Band names were 10-a-penny back in these pre-Pinkerton's Assorted Colours days, consequently it's hard to distinguish between a potential who's who of future superstars and an acne-ridden selection of hopefuls with dodgy hair-do's and no fixed talent (see also "The Detours" and "The Paramounts" entries)

LARRY BOYD & THE DAVERICKS

Bridgwater's very own and if you are a local child of the 60's & 70's you will remember Lazza as a permanent fixture in the annual Carnival concerts (full story hopefully to follow)/span>

24th October 1960

PAUL HANFORD & THE RHYTHM SEEKERS

Yet another Parlophone artist, for whom he recorded 3 singles, Hanford missed out to Bryan Hyland on an English cover version of the excruciatingly twee "Itsy Bitsy Teeny-Weeny Yellow Polka-Dot Bikini". "If You Ain't Got Love" followed during the same year with the uptempo "Memphis Address" appearing in 1961. Also released one single for Oriole in 1963 before vanishing off the face of the earth (from a career perspective anyway).

The advert for this concert tantalisingly suggests that the male members of the audience were to be given a special treat this evening - an appearance of "Miss Itsy Bitsy" in her "bikini". Whilst it is tempting to guess whether the young lady in question was part of the Hanford entourage or Elsie from the local chippy, one suspects that it was a small piece of poetic licence on behalf of the marketing department of The Top Twenty and was intended to advertise Mr.Hanford's latest vinyl offering.

PAUL HANFORD - Itsy-Bitsy Teenie Weenie Yellow Polka Dot Bikini (1960)

CLAY NICHOLLS & THE TEENBEATS

Also appearing on the bill were this rockin' combo. I cannot provide any background on the Teenbeats I'm afraid but Clay Nicholls is of historical interest, though not becuase of anything that he achieved personally. Nicholls rubbed shoulders with at least two musicians, both of whom were effectively "stolen" from the man's employment and who later achieved independent stardom elsewhere. Nicholls was born Vincente Tartaglia but despite his Italian origins, was actually Scottish. After moving to London he became another in the long list of hopefuls that frequented the 2 I's Coffee Bar in Soho-A-Go-Go and eventually formed a band called The Blue Flames in 1958. Having been turned down by Larry Parnes after a so-so gig at the Shepherds Bush Gaumont, Nicholls and his band obtained a residency at a Butlins Holiday Camp in Filey, Yorkshire in both 1958 & 1959. Augmenting the 1959 line-up was a young spiky-haired cocker-nee guitarist obtained from The Spacemen Skiffle Group called Joe Brown. But, before the engagement could be completed, Brown's talent was spotted by the aforementioned Mr.Parnes and he was whisked away smartish to become a back-up musician to the impresario's "cavalcade" of stars. The Blue Flames disbanded soon after with Nicholls subsequently forming, or at the very least fronting, The Teenbeats, with whom he appeared at The Town Hall. Then in June 1961, The Blue Flames were revived for the umpteenth time, though on this occasion were augmented by a young keyboard player by the name of Colin Powell aka Georgie Fame. The Nicholls/Powell association did not last long however. The band were spotted by Billy Fury during a rehearsal and, being a big star, he promptly decided to purloin the Blue Flames lock, stock and barrel for his own personal use with Nicholls apparently now excess baggage. However, in the dog eat dog world of British pop music, nothing lasts forever, and in this case, the new line-up only survived for approximately six months. Having obtained their services, so we are told, becuase the band had shared the same initials as the bequiffed scouser, Fury quite possibly came to the conclusion that this was a rather tenuous reason for employing them in the first place and he consequently fired the lot of 'em. The remaining musicians continued independently as Georgie Fame & His Blue Flames. The rest is, as they say, the proverbial history though as for Clay Nicholls, who knows? Another singer who seemingly has disappeared into the mists of time and who finally got lost in the fog.

My thanks to http://forgottenbands.blogspot.com/ for this info.

31st October 1960

BARRIE JAMES & THE DOMINOES

Another singer off the "Parlophone Recording Artiste" production line but I have only been able to trace a couple of singles, "As Far As I Can Tell" and "Hot Sunshine", both released in 1961. James was originally discovered at the tender age of 15 by impresario Carrol Levis (an earlier version of Hughie Green) but spent three years away from show business as an apprentice jockey. He joined forces with the skiffle group The Dominoes when the members of the next band booked for the Top Twenty left that group to go professional and subsequently James became part of the same Southampton scene that had spawned Brian Fisher, Tex Roberg & Anne Beverley. James, at one point, "fronted" an agency called "Barrie James Enterprises" that had been set up for him by Len Canham, though after the birth of his second child, he eventually retired from professional performances in 1964, with the agency, now called "Avenue Artists", being run by Canham himself.

BARRIE JAMES - As Far As I Can Tell (1961)

14th November 1960

THE BROOK BROTHERS

Barrie James & The Dominoes ("back by popular demand")

From Winchester, Ricky & Geoff Brook were once hailed as the UK's answer to the Everly Bros. Having attended Peter Symonds Secondary School, their career began with the proverbial skiffle origins, and after winning a talent contest held at Southampton's Royal Pier, they left their band The Dominoes (see Barrie James) to sign to Top Rank Records, turning professional in the process. In 1960 they issued covers of the Four Brothers "Green Fields" and the Hank Locklin song "Please Help Me I'm Falling" both of which were produced by Tony Hatch, but then Top Rank went bust. When Hatch moved to Pye Records as their "in house" producer, he took the Brook Brothers with him and they managed 5 Top 40 hits between 1961 & 1963 with "Warpaint" their first and biggest smasheroo, reaching No.5 in March 1961, two months before their 2nd Top Twenty appearance. Bearing a passing resemblance vocally to the aforementioned Phil & Don, the Brooks suffered mostly by recording a succession of bouncy, sappy, pop songs, some of which were vaguely based on Everly melodies, but none of which were of a particularly high standard. If the siblings had had Chet Atkins as a producer and a songwriting team of the calibre of Felice and Boudleaux Bryant on their side, things may have been a tad different. As it was, they were given novelty songs like "Ain't Gonna Wash For A Week" which did at least reach No.13 in the charts, but they were eventually swallowed up by the beat group movement. Despite appearing in the film "It's Trad Dad" alongside Helen Shapiro and Craig Douglas, entering a tune called "A Song For Europe" in the 1962 Eurovision Song Contest (it didn't win) and changing their name to "The Brooks" they disappeared into the black hole of light entertainment.

THE BROOK BROTHERS - Say The Word (1960)

Our intrepid reporter Mike Guy with the Brooks at Taylor's (note "Top Twenty" advert in the background)

28th November 1960

DANNY HUNTER

Anne Beverley, Brian Fisher & the Raiders ("The Shiek Of Shake")

Hunter is something of a mystery as Google searches reveal next to nothing about him. There are suggestions that he worked for both Larry Parnes (more on him later) & Len Canham and that he once fronted a bunch of musicians collectively known as "The Giants", but his history is cloudy to say the least. Bob James, one of the Southampton "crew", described him as "extremely good looking with an average voice!" which, with only "Lost Weekend" for evidence, may not be too far from the truth though Hunter sounds like a British version of Paul Anka to these untrained ears. The song incidentally was originally recorded by American artist Billy Brown in 1960 for the Republic label.

DANNY HUNTER - Lost Weekend (1961)

5th December 1960

Johnny Spencer & The Casuals

12th December 1960

MICHAEL COX

Michael Cox was a scouser who had the good fortune to be taken under the wing of the mercurial Joe Meek, the man responsible for providing the first ever British record to make No.1 in the USA - The Tornadoes "Telstar". "Telstar" did not appear until 1962 so Cox's involvement occurred during Meek's embryonic period as an independent record producer, one of the very first in the UK. Michael's career took off when his younger sisters Diana, Susan, Jenny & Barbara wrote to ABC TV demanding an audition for Jack Good's "Oh Boy!" Despite this rather forceful approach Good was sufficiently impressed to sign him up for the program that became "Oh Boy's" successor, "Boy Meets Girl". Good also effectively took over Cox's career and obtained a deal for the singer with Decca Records. Cox recorded "Teenage Love", a Marty Wylde song, and "Too Hot To Handle" for the label in 1959, songs that failed to chart but which featured a backing band that included guitarist Joe Brown. Good introduced the singer to Joe Meek after Meek had enquired about signing talent to his own, brand new, Triumph record label and with Decca rather hastily deciding that Cox wasn't quite what they were looking for, Michael became one of Meek's first acquisitions. After Marty Wylde had generously offered a demo of a song written by John D.Loudermilk called "Angela Jones", Cox recorded this rather tepid teenage tearjerker and it reached No.7 in June 1960. Sounding pretty much like a lot of the pop fodder that was in the charts back in those days, it does not bear the trademark sound that set Joe Meek's records apart from the rest and was the only sizeable hit to appear on his label before it was abandoned due to financial difficulties. Cox, who was popular in both Denmark & Sweden, toured Scandinavia to some degree of success, backed by one of Joe Meek's regular bands. (This was either The Outlaws, who later featured guitarist Richie Blackmore, or The Checkmates - there seems to be some confusion as to who actually got the gig.) But his notoriety abroad could not be matched back in the UK and despite moving to His Master's Voice and reaching No.41 with "Along Came Caroline" just 2 months before his visit to Bridgwater, his days as a pop star were numbered. ("Along Came Caroline" incidentally was a blatant re-write of "Angela Jones" - so much so that the character appears in the song's lyrics.)Cox also recorded for both Pye & Parlophone but with little success, consequently during the mid-60's he eventually abandoned his singing career to concentrate on acting. In 1966 he appeared opposite Wilfred Brambell & Sid James in the apparently awful James Bond spoof "Where The Bullets Fly" as a character called Lt.Guyfawkes and was also kept busy with appearances in both TV plays and commercials. In 1976, he appeared in the filmed version of the musical "The Butterfly Ball" written by ex-Deep Purple bassist Roger Glover but soon afterwards Cox temporarily called time on his thespian career to work as a cruise ship entertainer. In later years he lived in both the States and New Zealand and currently resides in the latter, working regularly on New Zealand television under the name Michael James, a monicker that, according to one rock encyclopedia, was obtained following a mysterious experience with a ouiji board.

More poetic licence from The Top Twenty's ad men (see Paul Hanford above.) This time they triumphantly acclaim "Wow! A date with "Angela Jones!" on the concert's poster. This comment obviously refers to Michael Cox's big hit and does not suggest in any way that Ms Jones herself would be available for a curry, a couple of pints of pale ale and a quick grope by the changing room doors.

MICHAEL COX - Angela Jones (1960)

THE HUNTERS

The Hunters, at least by the time they had arrived in Bridgwater, were an above average instrumental band during a period when the charts were full of em. Formed out of a group called The Parker-Royal Five that were based in Cheshunt, Hertfordshire, after band member David Meikle had left to form his own combo, replacement Dave Sampson became the unofficial leader and with the assistance of Cliff Richard, the band obtained a record contract with Columbia. Their first single, a smoky ballad called "Sweet Dreams" was written by Sampson in Wardour Street's Curry Bazaar Indian Restaurant in 1959, and reached No.29 in May the following year. Sampson was the band's vocalist at this point and this line-up released a series of singles without making much headway. Following the success of Cliff & The Shadows ability to hold down two successful careers at the same time, the decision was taken to utilise the talents of The Hunters instrumental prowess, and after a swift change of record label, the single "Teen Scene", heralded as their "new" Fontana release by the Bridgwater Mercury, appeared also during 1960. "Teen Scene" was in fact a fine cover version of an obscure USA hit originally recorded by Dicky Doo & The Don'ts. At this point, it's hard to know whether Dave Sampson left the band or whether The Hunters continued without him but as there are a couple of albums,"Teen Scene" and "Hits From The Hunters" currently available, one must imagine that they enjoyed a healthy, if unsuccessful recording career as independent artists. The band also backed a number of British singers such as Bridgwater co-star Michael Cox whilst in 1961, they appeared on a couple of occasions behind Cliff as The Shadows, when the latter were involved in a minor car accident. At least one of these performances included a slot on the prestigious Sunday Night At The London Palladium. There is no denying that they were a fine band, and on tracks such as "Golden Earrings" and in particular 1962's "The Storm", close your eyes and you would think that it's Hank B and the boys. But The Hunters suffered from a lack of both consistency and decent material, and come the beat revolution were left surveying the ruins of a once hopeful career. Guitarist Brian Parker and his ex-Parker Royal cohort David Meikle eventually re-invented themselves in the mid-60's as co-founders of the band Unit 4 Plus Two. Consequently The Hunters fact file reveals two further items of interest, one of which is that Parker co-wrote the 4+2 hit "Concrete And Clay" and the other is that the band would appear to have had a particular liking for the pith helmet.

THE HUNTERS - Teen Scene (1960)

The Artists 1961

2009-09-29T15:17:00.001-07:00

2nd January 1961

Danny Davis/Tex Roberg

THE NEVITT BROS

Yet another booking from the Southampton roster managed by Len Canham. The Nevitt's (Mike & Tony) were making their debut here and apart from a couple of faded photographs, the only other info about what was probably another Everly Bros inspired duo was the name of their backing band, The Jaguars.

16th January 1961

A great "double header" for this particular evening with two artists that were poles apart - a typical 60's male crooner and a self-confessed raving loony from the North West of London.

LANCE FORTUNE

Lance Fortune was another scouser, this time from Birkenhead - just a ferry ride across the Mersey. Fortune (real name Chris Morris) studied classical piano as a child but stricken with the desire to be famous, sacrificed a scholarship at a Welsh University to work as an odd-job man at the 2 I's Coffee bar. Morris became one of many singers that formed part of the Larry Parnes production line. An ex-shopkeeper, "Mr.Parnes, Shillings & Pence" as he was called, was the Simon Cowell of the 1960's and probably the most successful manager/agent/impresario in the UK at the time. Parnes template was to take a succession of young men* with a varying degree of talent and turn them into "stars" with each singer given a glamorous stage name that was apparently meant to highlight their individual personalities. Parnes groomed a plethora of male singers but his knack of spotting raw talent was somewhat hit and miss as he placed a heavy emphasis on image and the money-making capabilities of each performer. Even though Parnes artists Marty Wylde, Billy Fury, Tommy Steele & Georgie Fame had careers that lasted for a sizable length of time, for every one of Larry's successes there were two who didn't quite make it and Fortune belongs in the latter category. The singer, who incidentally was not actually managed by Parnes but was discovered and re-named by him threatened to make his mark when "Be Mine" got to No.4 in January 1960. Sounding like a dead ringer for the Buddy Holly-inspired John Barry production of "What Do You Want?" a No.1 for Adam Faith in 1959, "Be Mine" may well have been another Joe Meek presentation, but Barry arranged this track under the pseudonym Johnny Prendy. Unfortunately, Fortune only made the Top Thirty just once more from a further 3 pizzicato string-laden single releases, subsequently his career became nothing more than a tiny smudge in the margins of UK rock n'roll history. Incidentally, we can dispel the idea that Parnes' choice of stage name was tailored to each singer as the monicker Lance Fortune was not the sole property of the Birkenhead balladeer. It was originally given to another Parnes artist before Fortune's career took off. Lance Fortune Mk II (or Mk I in this case) was none other than Clive Powell aka Georgie Fame.

LANCE FORTUNE - Be Mine (1960)

* It may be churlish to suggest it, but perhaps there was an ulterior motive for Parnes' interest in "young men" as Larry and indeed Joe Meek, were both homosexuals.

SCREAMING LORD SUTCH

Where does one begin? David Edward Sutch (or Screaming Lord Sutch, 3rd Earl of Harrow as he later became) was born in Hampstead in 1940 and as a teenager was a plumber's mate who developed an early passion for rhythm n'blues. A chance meeting with drummer Carlo Little in a coffee bar led to the formation of The Savages, though at this point there was no intention for Sutch to be in the band, as he didn't have any musical talent whatsoever. An excessively eccentric character with exceptionally long hair (by early 1960's standards that is), his arrival as a rock n'roll singer happened by chance. Carlo Little takes up the story "During a 12-bar rock and roll jam Bernie (the guitarist) screamed his guitar loudly. Excited by his playing Sutch went crazy with his head, his hair fell down, the full 18 inches, and screamed his head off "Yeah man!" It was such a funny sight that none of us could play any longer for laughing" This appeared to make him the ideal candidate for the role of The Savages lead vocalist and he was consequently given the job. The fact that he couldn't hold a note was of no importance. Almost from the outset Sutch & The Savages (with future Stones collaborator Nicky Hopkins on piano and Keith Moon an occasional drummer) built up a solid reputation as a live band within the capital city with Sutch it seems, doing his utmost to draw attention to himself. He adopted a "Wild Man Of Borneo" image by glueing a pair of thrift-shop buffalo horns to his motor-cycle helmet, whilst on stage The Savages honed a "horror-themed" stage show that was taken in part from the American artist Screamin Jay Hawkins and which eventually became their calling card. Apart from appearing as Jack The Ripper, Sutch would be carried on and off-stage in a black coffin with his skin painted a ghostly white and lips bright red. Knives, daggers, skulls and even the odd fake dead body were all used as props. If Johnny Kidd's stage act was "slightly threatening" then Sutch made him look like Capt. Pugwash by comparison, however ridiculous it all may have been.

His Top Twenty appearance featured all of these antics and maybe more but did not, it would seem, feature The Savages. Carlo Little had accepted a professional engagement with Dougie Dee and the Strangers and Sutch suddenly found himself on his own. A successful audition at the proverbial 2 I's Coffee Bar however convinced the proprietor of that establishment Tom Littlewood to send him out on tour with Vince Taylor's Playboys (more of him later) and it was this band that backed him on the gig. Sutch was, at this point, still not signed to a record label but later that year The Savages re-formed, Sutch met Joe Meek (yes him again) and signed to Pye Records, releasing his first single "Til The Following Night" (aka "My Big Black Coffin") in the process. Sutch and The Playboys must have been quite a sight on the evening of the 16th January 1961. God knows what Lance "Mr.Clean Cut" Fortune thought of it all. There have been many nutters sighted in Bridgwater over the years but Sutch was the only one armed with a microphone and a 4-piece band.

Sutch hit the headlines just 2 months after this gig when he was caught eloping with the 17 year-old daughter of a policewoman, just the sort of behaviour that your mother always warned you about.

SCREAMING LORD SUTCH - My Big Black Coffin (1961)

Sutch singles of note from the early 60's all take advantage of the band's "hammer horror" image and are as subtle as a bunch of Hells Angels gatecrashing a Tupperware Party. They include "Jack The Ripper" from 1963, a track that apparently attracted the latter day attention of Jack White from The White Stripes and for which, Sutch made a typically over the top promo film, whilst from 1964, "Monster In Black Tights", "She's Fallen In Love With The Monster Man" and "Dracula's Daughter" were all issued in short succession. There are two problems with Sutch's recorded output. The first is that, beyond the "shock" value that it apparently held back in the early 60's, it can not be taken seriously, secondly it gets constantly overshadowed by the man's rare talent for self-promotion, consequently it has consistently taken a back seat to his eccentric behaviour, which includes the following;

In 1961, he enters politics for the first time, with the formation of the "Sod Em All Party". In 1963, the now re-christened "National Teenage Party" polls 208 votes at the Stratford-On-Avon by-election. In 1964, Sutch starts his own pirate radio station. "Radio Sutch" initially broadcasts from a fishing trawler situated in the Thames Estuary called the Cornucopia but 2 weeks later, he is forced to move his operation to the war-time gun platforms at Shivering Sands near Southend. A Royal Navy task force is eventually summoned to physically eject Sutch from the area. In 1966, Sutch stands against Harold Wilson in the General Election at Huyton, Lancs and polls a creditable 585 votes. In 1968, Sutch tours America in a Rolls-Royce adorned with a Union Jack and during 1969, upon hearing that Elvis Presley is to make his comeback in Las Vegas, successfully poses as the "British Ambassador for Rock N'Roll" and not only obtains press tickets, but secures a meeting with "The King" himself. Sutch releases his first album in 1970 entitled "Lord Sutch and His Heavy Friends". In a BBC "worst album ever" poll in 1998, the record receives an honorary mention, but Colin Larkin includes it in his book "Top 1000 Albums Of All Time". In 1972, Sutch appears, along with several topless women, at 10 Downing Street with the intention of presenting Prime Minister Ted Heath with tickets for Wembley Stadium's forthcoming "London Rock N'Roll Show" extravaganza at which the good Lord is scheduled to make an appearance. The police are called to intervene and several arrests are made but Sutch escapes prosecution as he is the only member of the entourage who is fully clothed. In 1983, he forms his beloved "Monster Raving Loony Party" and in 1991 surpasses politician Bill Boakes as the parliamentary candidate that has stood most times in UK election history. In 1994, he achieves his finest political result, with 1,114 votes at the Rotherham by-election. Finally, and sadly, in 1999, having suffered depression from the death of both his mother and her pet dog, Rosie, Sutch is found hanged at his Mum's residence.

23rd January 1961

Johnny Spencer & The Casuals

30th January 1961

The Nevitt Bros/Brian Fisher/

SHIRLEY GAYE & The Semi-Tones

Another Len Canham evening featuring "The New Teen Rave" The Nevitts, "Rocking Boy" Brian Fisher and "For The First Time Here - Glamorous TV Star" Shirley Gaye (pictured below with The Strangers & Barrie James)

13th February 1961

SANDRA McCANN/JOHNNY GREGG/MIKE STORM & THE COMETS/THE ANTONES

With Bristol just a stone's throw away, it made sense from a geographical perspective for the Top Twenty to tap in to it's local music scene. To my knowledge, Johnny Spencer & The Casuals and Dale Rivers & The Ramrods had been the only Bristol bands to have played the Town Hall up to this point but here was the first evening to feature a number of acts that were predominantly from that city. On 16th December 1960, a concert called "Groups Galore" had played Bristol's Colston Hall. This was a showcase evening for a lot of the city's local bands, "even though not one of them had a recording contract, and some of the musicians were still in school" Such was it's popularity, "Groups Galore" became an bi-annual event for the next 5 years and was successfully revived in 2000 with the same line-up that had played the first gig 40 years previously. A well-publicised final performance of "Groups Galore" occurred in 2005. As for the above 4 artist's, it's surprising just how little is known about the bands and singers that originated from the banks of the Severn and who played The Top Twenty. As mentioned above, most of these groups and singers never succeeded in signing a record contract, consequently their history is based on a life on the road and hundreds of gigs like this one. Sandra McCann was billed as "only 16 years old" at the time of this concert and was something of a Brenda Lee-a-like, Mike Storm was one of the original "Groups Galore" artists as were The Comets, the proverbial Bristol backing band (a Bristolian Booker T & The MG's if you like.) They were apparently the first group from Bristol to swap their thimbled washboard for a plectrum'd electric guitar and played the Town Hall on numerous occasions, backing an array of different vocalists. Like a lot of the artists above they were still active until recently though the band finally called it a day in 2007.

THE COMETS - Walk Don't Run (live)

A live performance of The Ventures classic recorded at The Colston Hall either in 1960 or 1961 during a "Groups Galore" concert. Note the few isolated screams from the female members of the audience and dig that guitar tremelo!!!

27th February 1961

PETE CHESTER & THE CONSULATES

Pete Chester was in fact the son of Charlie Chester, or "Cheerful" Charlie as he was known. A popular British comedian of the Arthur "'Allo Playmates" Askey/Max Miller mould, as a child of the 60's & 70's I remember Chester as the genial host of the BBC Light Programme's "Sunday Soapbox" which was first broadcast in 1969. Chester Jnr on the other hand was a drummer by trade, who was once a member of "The Five Chesternuts", a band that eventually evolved into The Drifters (the UK version) or as most people know them, The Shadows. Despite losing out on the opportunity to be part of the Cliff Richard gravy train, Chester stuck around long enough to co-write his No.1 hit "Please Don't Tease" with Shad Bruce Welch. After that it would appear that Chester contented himself with a variety of backing bands and the odd minor hit or two, one of which, "Ten Swinging Bottles" was lodged at No.14 when Chester made his one and only appearance at the Town Hall. Back in the days when you could make up an instrumental out of any old bollocks (and believe me, a lot of people did) Chester chose to "rock up" that old singalong classic "Ten Green Bottles". Yes, it is as bad as it sounds.

PETE CHESTER & THE CONSULATES - Ten Swinging Bottles (1961)

Incidentally, Charlie Chester has played Bridgwater too. He made a war-time appearance back in the 1940's at the Palace as part of an ENSA concert.

DICKIE PRIDE

With a name like Dickie Pride, he just had to be another member of the Larry Parnes stable and indeed he was. Richard Knellar was transformed into Dickie by the Parnes "star maker machinery" but he was actually discovered by Russ Conway in 1958 when the 16-year old was singing at a pub called "The Castle" in Tooting. Conway remembers "I dropped into a pub in Tooting and there was this incredible singer. I'd no idea who he was, but I was so impressed I talked to Larry Parnes about him. We went to see him the next week and took Lionel Bart with us. We were all so impressed that Larry decided to sign him on the spot." As a youngster, the singer had enrolled at Croydon's Royal College of Church Music and such was his vocal prowess he was being touted as a future opera star. The young Knellar however felt that skiffle offered a far more exciting career and after forming a band called The Semi-Tones, opera lost a potential Pavarotti. Still aged 16, he made his concert debut at the Kilburn Gaumont, at that point the biggest cinema in the UK and immediately made an impression. Signed to Columbia Records by Norrie Paramour, Pride made his debut in 1959 on "Oh Boy!" at age 17 and released his debut record, a cover version of Little Richard's "Slippin And Slidin" during the same year.

DICKIE PRIDE - Slippin' And Slidin' (1959)

Pride had the raw ingredients to be a big name and according to various members of the Parnes' entourage was the real deal, with Billy Fury, Joe Brown and Duffy Power all suggesting that he was the best singer of them all. Power says "Dickie was absolute magic on stage, completely spell-binding. On a tour you get a bit jaded listening to the same people singing the same things every night, but Dickie was the one the other singers went to the wings to watch. You couldn't take your eyes off him." So why wasn't Pride a star? It has been suggested that he wasn't pretty enough but the truth is he was a troubled man with a drink problem and a bad attitude that often resulted in an all too frequent tendency to use his fists when the mood took him. Hal Carter, Larry Parnes assistant, recalls; "Dealing with Dickie became more and more difficult. He was a genius in my opinion, but with a couple of flakes missing. The trouble was you never knew when you went in to the room whether you were going to get the genius or the madman. He had a tendency to hit out with his fists rather than talking and the slightest frustration would start him swinging. If he drank he didn't just have a drink he got legless and he was into smoking dope very early on". Apart from occasionally clashing with members of the audience, in 1959 he was up before the Crown Court for smashing windows and stealing a car, a story that not only hit the national press but which was also discussed in The House Of Commons. Not the sort of acceptable social behaviour you would expect from an impressionable young pop star. Two years later, having already been dropped from the Larry Parnes roster once before, Pride allegedly knocked out singer Terry Dene on stage after an argument over a girl. If his off-stage antics weren't bad enough, his potential as a singer was never realised, primarily due to bad management. Apart from a minor hit in October 1959 with the sugary sweet "Primrose Lane", Pride released only 5 singles between 1959 and 1960 and it would appear that neither manager nor record company had any idea as to what to do with him. In 1960 he was initially offered The Silver Beatles as a backing band before Parnes changed his mind and by 1961 Dickie's career was already stalling, with the relationship between him and his manager further soured by a reluctance to allow Pride to sing anything more than the perfunctory three "hit singles" every night. In the early 60's, the general consensus was that the only place to go beyond rock n'roll was cabaret so Parnes decided that he would make Dickie an "all-round entertainer". He had already performed this trick successfully with Tommy Steele, so why couldn't he do it again? An ill-fated album of "standards" amd Tin Pan Alley tunes featuring the Ted Heath Orchestra called "Pride Without Prejudice", was the only release during the year of his Top Twenty appearance and was issued in an attempt to salvage his career. But this ill-fated attempt to make Pride the UK's Bobby Darin didn't sell in sufficient quantities and by 1962, Pride & Parnes had parted company for good. There's not much of Dickie Pride's career to remember him by but one of his "Oh Boy!" performances from 1959 survives and even though it only gives a glimpse of what he was capable of, it's enough to suggest that he could have extended his career beyond the early 60's under the right circumstances. As it was Pride drifted into obscurity and all we have left are a few urban myths that make it hard to distinguish fact from fiction. In 1962, he got a job as a storeman but during the following year made a "comeback" of sorts with a band called The Guvnors, that included fellow vocalists Nelson Keene and Bobby Shafto. It is said that Pride eventually ended up working as a coalman and gained a heroin addiction. Drug problems certainly dogged his life towards the end but the rumour that in 1967 he was committed to a mental hospital and given a lobotomy may be stretching the truth somewhat. He eventually died in 1969 after an accidental overdose of sleeping tablets, at the ridiculously young age of 27.

DICKIE PRIDE - Bye Bye Blackbird (1961) - From the ill-fated "Pride Without Prejudice" album

6th March 1961

JOHNNY CARR & THE CADILLACS

Billed as "versatile and dynamic", Johnny Carr (real name Cornelius O'Sullivan) & his Cadillacs, were a Bristol based band that were formed in 1958 and apparently played alongside The Beatles at the Kaiserkeller club in Germany. They have been credited with having played various songs that became a staple diet of every Beat Band in creation, before anyone else did, including "Shout" (Lulu), "You'll Never Walk Alone" (Gerry & The Pacemakers) and "Twist And Shout" (The Beatles).

Regarded by many as both the most popular and the best of Bristol's beat groups, they also seemed to go down particularly well at the Top Twenty making a staggering 10 appearances between 1961 and 1963, more than any other artist. But despite being lauded as Bristol's finest, their 60's recording career yielded just two singles, Decca's "Remember That Girl" from March 1964 and "Do You Love That Girl" from July 1965 on Fontana though Carr also released two singles under his own name in 1966 & 1967 respectively. As of this moment, they are still going strong, though unsurprisingly perhaps, Carr is the only original member remaining.

ROYSTON JONES & THE RAIDERS

Not one of Johnny Carr's Bristol rivals, Royston came from Richie Blackmore of Deep Purple fame and John Cleese country, Weston-Super-Mare.

20th March 1961

VINCE TAYLOR & THE PLAYBOYS

Even though they didn't know it at the time, The Top Twenty were on something of a roll. Following hard on the heels of Messrs Sutch & Pride, Vince Taylor was the latest artist who may only have secured a modest reputation at the time of his Town Hall appearance but in later years was revered by UK music enthusiasts as another one of those bona-fide rockers that was just a tad more exciting than your average male crooner. He was born Brian Holden in London in 1939 but was often regarded as an American vocalist as he had spent the period '46-57 living in the US of A. Taylor's father-in-law was the famous cartoonist Joe Barbera of Hanna-Barbera fame and apart from "managing" the singer, it was Barbera who brought Vince back to England when Joe was visiting on a business trip. Upon his arrival Holden auditioned at that musical mecca the 2I's Coffee Bar, Brian became Vince, The Playboys were formed (featuring future Shadow Tony Meehan on drums) and by 1958 they were recording for the Parlophone label releasing "I Like Love" as the first single. With hindsight, Taylor was only a fair to middling singer but he was a good looking guy and after adopting a black leather image that Gene Vincent had previously popularised he and the band developed a dynamic stage act that was a cut above the rest of the competition and which included the extremely animated lead singer, all rubbery legs and exaggerated limb movements. On record however, Taylor enjoyed only modest success and by 1960 Parlophone had already dispensed with his services but not before the band had released what is generally regarded as a piece of Anglo-Rock N'Roll as good as anything that was being issued in the States at the time. "Brand New Cadillac", a Taylor original, was relegated to the "B" side of a cover version of Johnny Ace's "Pledging My Love" in 1959 but partially due to The Clash's rendition of the song on their "London Calling" album it is rightly regarded as one of the most important releases in the history of British popular music.

VINCE TAYLOR & THE PLAYBOYS - Brand New Cadillac (1959)

Off-stage, Taylor was an awkward cuss who, allegedly, became the first "rock" star in the UK to be arrested for wielding a knuckleduster and who achieved the distinction of being fired by his own band on the eve of a lucrative gig at the prestigious L'Olympia venue in Paris in 1962. The Vince-less Playboys, now re-christened The Bobby Clarke Noise, travelled to France with Taylor in tow and, rumour has it, after sitting in with the band on the soundcheck he produced an extraordinary performance that not only saw him promptly re-instated as lead vocalist but automatically promoted to the top of the bill by the concerts organisers. France clutched the group to their collective bosom, and The Playboys enjoyed a purple patch playing in venues around Europe. But Vince was still proving to be more than a little unpredictable and during an appearance on the popular Dutch Television program "de Vuist" almost came to blows with the program's host Willem Duys after he was told that the band were only allowed to perform one song. Taylor, having threatened physical violence, walked out and sulkily returned to France.

The singer's important position in British rock n'roll history has since been cemented by David Bowie when "The Thin White Duke" admitted that he had partly modelled his famous creation Ziggy Stardust on Vince after a series of incidents in the mid-60's had given Taylor a somewhat dubious reputation. By 1964 the rebellious rocker had started to enjoy his new-found European fame and had got hooked on a variety of hard drugs, "losing his marbles" big time in the process. Wikipedia offers the following anecdote : A mixture of acid, amphetamines and alcohol proved fatal to his mind and in front of a full house, on the brink of becoming a huge international star, he had a break down - coming on stage and trying to evangelize the audience, he claimed to be the prophet Matthew, and he preached until the band agreed with everything he was saying. The audience pretended not to understand, thinking that it was part of the show. But after 15 minutes of running around with a towel on his head, and a few poorly executed songs, he began to wreck the whole stage like The Who, but this was before the set was even played. Taylor shortly afterward joined a religious sect with Bowie encountering him in London in the mid-60's. Bowie says There was an American rock singer. I guess he would have come out of the late 50's...late 50's early 60's, called Vince Taylor. Who possibly...well, I met him a few times in the mid 60's. In fact, went to quite a few parties with him. Vince Taylor was trying to make his way in Britain. He couldn't crack the States. He was a sort of real seedless character. So he decided to try and do it in England. And he was out of his gourd. Totally flipped. I mean, the guy was not playing at a full deck, at all. And he used to carry maps of Europe around with him. And I remember very distinctly, him opening a map out on Cherry Cross Rd. outside the tube station, and putting it down on the pavement, and kneeling down with a magnifying glass-and I got down there with him-and he was pointing out all the places where UFO's were going to be landing over the next few months. And he had a firm conviction that there was a very strong connection between himself, aliens, and Jesus Christ. Those are the 3 elements that went into his make up and drove him. He basically went to France and became a huge rock star. And one night he decided he'd had enough. So he came out on stage in white robes, and said that the whole thing about rock had been a lie, and that, in fact, he was Jesus Christ. And it was the end of Vince, his career, and everything else. And it was that and his story which really became one of the essential ingredients of Ziggy and his world view.

Despite Bowie's comments, Taylor was not washed up entirely, and towards the latter part of the 60's, Playboy drummer Bobbie Clarke organised a small one-month tour of France, billed as "Vince Taylor and Bobbie Clarke backed by Les Rockers". But there were problems throughout due to Taylor's erratic behaviour that included, at the final gig, a personal premonition that the concert hall would "blow up" as soon as Vince took to the microphone. (Rumour has it that the electricity supply apparently short-circuited as Taylor began his opening song, but I think we can regard this story with some suspicion.) But he remained a popular artist and in late 1969, the magazines 'Bonjour les Amis' and 'Disco-Revue' began a campaign to get Taylor's career back on track by asking its readers to write to record owner Eddie Barclay in the hope that he would give him another chance. Suitably convinced, Vince recorded a series of cover versions for the Barclay record label, and performed intermittently throughout the 1970’s and 1980’s. During the end of his life, Taylor lived and worked in Switzerland as an aircraft engineer before finally succumbing to cancer in 1991.

On a more sober note, at the time of making his Top Twenty debut, backing band The Playboys were appearing for the second time having previously performed with Screaming Lord Sutch back in February.

And talking of The Playboys, other than Tony Meehan, all of the following have appeared in this band at one time or another. The Shadows other drummer, Brian Bennett, Bennett's fellow rhythm partner, bass player Brian "Licorice" Locking, Beatle collaborator Tony Sheridan, Georgie Fame and a very youthful Jimmy Page.

VINCE TAYLOR & THE PLAYBOYS - What'd I Say (1961)

There is an unconfirmed suggestion that this was recorded at L'Olympia in France on the 7th July 1961 with a pick-up band called "The Noise". If this information is correct then this clip occured just 3 months after his Town Hall appearance.

The Town Hall bill for the 20th March also included two other artists, but both remain shyly elusive when it comes to providing information about their history.

DI MACKAY

Di, as the Top Twenty advert suggests, was billed as "The Girl With The Guitar", and was apparently a regular member of the popular "Saturday Club" Radio programme. However a protracted search of the Saturday Club's archive listings does not reveal MacKay as being part of it's roster of artists.

For the unitiated, "Saturday Club" started life on the 1st June 1957 as a program called "Saturday Skiffle Club" - produced by Jimmy Grant, hosted by the incomparable Brian Matthew and broadcast every Saturday from 10-10.30 a.m. After skiffle's initial flourish began to wane, the program's title was altered, the broadcast was expanded to two hours a week (10am to 12noon) whilst the emphasis, musically, was shifted to incorporate all forms of "teenage music". As "Saturday Club", the program first began it's lengthy lifespan on the BBC Light Programme from October 4th 1958 and lasted until January 1969, an 11-year period that also included an 18 month-stint on Radio 2 towards the end of it's history. It consisted mainly of "live" pre-recorded performances as there were restrictions on the amount of "Needle Time" allowed on Radio during the height of it's popularity.

FRANK KELLY & THE CRESTAS

"Born and raised on my father's farm in Titchfield, Hampshire, is the main reason for my love of the outdoor life" says 19 year old Frank Kelly. A recording contract was negotiated with Fontana and it was on Tuesday, 4th September that Frank had his first recording session. The Hunters who now support him on most of his engagements also accompanied him on two numbers at the session. The first was a medium paced ballad which has become a standard amongst Country and Western fans, which has recently been revived with great success in America entitled "Send Me The Pillow You Dream On", and the other of their own compositions called "Cept Me". Wherever he has appeared he has earned great praise and the future looks very bright for the Country boy making his debut with a Country & Western number." So says the record company blurb issued upon the release of Frank's debut single. This description certainly beats the "All Music Guide's" suggestion that Kelly was just "another obscure Brit pop rocker". Kelly's backing band at the Town Hall, The Crestas, all hailed from Portsmouth, which could link this outfit to Len Canham though there is no evidence to suggest that they were managed by him. The Crestas (the first of two bands who performed at The Top Twenty under that name) had, by 1963, changed their name to The Hunters which automatically causes some confusion as some pop music historians believe that these are the very same Hunters that had performed at the Town Hall in 1960. Not so. (Another suggestion that Frank is none other than the actor who played Father Jack from Channel 4's "Father Ted" comedy sitcom and who, incidentally, did have a career as a singer, are also well wide of the mark.) Both sets of "Hunters" recorded for Fontana with Frank and the boys releasing a total of 4 fairly nondescript singles on that label between 1962 and 1964. These included a blatant "Runaround Sue" rip-off entitled "I Saw Linda Yesterday" (also released by Craig Douglas) and a follow-up entitled "What Do You Wanna Do", written by Mitch Murray, on which Frank sounds like a cross between Adam Faith and Billy J Kramer. The track included here, "Good And True" is the "B"-side of "Linda" and apart from a bad attack of the Buddy Holly hic-cups, features a guitar solo and instrumental passage that at least lifts the song from it's mediocrity.

FRANK KELLY & THE HUNTERS - Good And True (1963)

27th March 1961

Barrie James/The Nevitt Bros/Shirley Gaye & The Keytones

EASTER PACKAGE SHOW ("Win the monster Easter Eggs in the jiving competition!")

10th April 1961

Danny Davis/Brian Fisher/Shirley Gaye with The Strangers

24th April 1961

Johnny Spencer & The Casuals

THE LONDON'S ("Popular Radio & TV Vocal Team")

Having named yourself after the capital city, you would think that this artiste would be a tad more popular but nay. No info on this lot I am afraid apart from the mouth-watering Mercury advert and it's brief description of The London's talents.

8th May 1961

Johnny Carr & The Cadillacs

DEAN TORRENT & THE PRESSMEN

And not much on these either, though I am almost certain that they were local lads from good old Bridgy. The Pressmen may have included Pete Gibbs in their line-up, this being the same Pete Gibbs of Pete And The Devils fame (see 1960). The Pressmen also backed another local pop luminary called Jimmy Treharne during the early 60's but there is no word on the mysterious "Dean Torrent" however.

15th May 1961

The Brook Brothers/Barrie James with the Semi-Tones

THE BROOK BROTHERS - Warpaint (1961) (entered charts 1/4/61)

22nd May 1961

Johnny Carr & The Cadillacs

BILLY FURY

A major coup for the Top Twenty and probably one of the biggest acts to have ever played The Town Hall. At this point in the man's career, Fury had contributed a number of singles to the Top 20 chart with "Colette" reaching No.9 in 1959. However, "Halfway To Paradise" was released just one month before his Bridgwater appearance and thereafter Fury was a regular visitor to the Top 10 for the next 4 years. Born Ronald Wycherley on April 17th 1940, he was brought up in Dingle, a rough, predominantly working class area of Liverpool, and was a schoolmate of Ringo Starr's at St. Silas Church of England. A sickly child, he contracted Rheumatic Fever in 1946 which weakened his heart valves, eventually contributing to his death at the age of 43. The story goes that, during one of his many visits to his local hospital, he overheard a doctor telling his mother that he would be lucky to reach the age of 30. The young Ronald took piano lessons at age 11 and at 14 was given his first guitar by his parents but was never particularly proficient on either instrument. As a teenager he obtained a job as a deck-hand on the Mersey tug-boat "Formby" and this coincided with a keen interest in country & western music and the formation of the Formby skiffle group which performed in local cafe's in the city. A change of jobs in 1957 saw him working at the Joshua Reynolds department store and it was here that he began to gain a reputation as a budding songwriter. In 1958 Wycherley recorded 6 demos in a local studio situated at a house owned by one Percy Phillips (the same studio at which The Quarrymen recorded the following year). He also sent a tape of material, along with a photograph, to Larry Parnes but initially received no response. After entering, and failing, in a "Carroll Levis Discoveries" talent contest at the Liverpool Empire, the common "rock myth" story suggests that it was not until Ronald's mother contacted Parnes personally that the impresario invited Wycherley to The Essoldo Theatre in Birkenhead on the 1st October where his "Extravaganza Show" was playing with Marty Wylde headlining. Wycherley had hoped that he might succeed in peddling some of his material to Parnes' headliner, and backstage, the 18-year-old was asked to sing 5 of his compositions for his new admirers as an impromptu audition. Much to Fury's amazement, 10 minutes later, the inexperienced and totally unknown teenager was performing in front of a hall full of very enthusiastic punters and a "star was born".

"Two thousand screaming teenagers held up the programme at Larry Parnes' "Extravaganza" - which featured rock 'n' roll idol Marty Wilde - last Wednesday when an 18-years-old Dingle boy, Ronnie Wycherley, of 35 Haliburton Street, completed a three-minute spot in the star-studded programme. Ex-tugman Ronnie, with a little apprehension, took the stage at the Essoldo Theatre, Birkenhead, after the compere of the show said: "Larry Parnes has given breaks to young people in his time and tonight he has invited a young local boy to entertain you." Wearing a two-tone Texan jacket and a guitar slung over his shoulder, Ronnie nervously walked on to the stage, and swung straight into the first number with an Elvis Presley inspired style. His three minutes were constantly punctuated by screams and shouts from hundreds of teenage girls, which were intensified at the least move of his body" (Also making his debut at this Birkenhead gig was another 18-year-old - a singer turned comedian by the name of Jimmy Tarbuck.)

The idea that an unknown 18 year-old should be thrust into the limelight on a backstage whim seems a little fanciful. The more sober, and therefore, probably more accurate version of events is that Fury, backed by future Fourmost member Billy Hatton, had taken part in an audition that Parnes had held in the city centre, and had impressed sufficiently enough for the impresario to take him on. Consequently Fury knew that he would be singing at the Marty Wylde gig as that was part of the deal that Parnes had struck with the young singer.

Whatever the turn of events, unsurprisingly, Ronald quickly became another of Parnes' proteges and made his "official" debut in Stretford the following evening. The proverbial name change followed soon afterwards with Ron's own choice of monicker - Stean Wade - being dropped in favour of the more dynamic Billy Fury. After signing to Decca Records, in 1959 Fury released his first single, the self-penned "Maybe Tomorrow" and quickly established himself as a new star. During the sixties Fury spent 258 weeks on the singles charts with 11 Top Ten hits and in 1961 alone, the year of his Top Twenty appearance, Fury's singles were in the charts for a total of 50 weeks. Of all of the Presley pretenders, Fury was UK's best - certainly more talented than Marty Wylde and better looking than Cliff Richard, and according to the All Music Guide "was one of the very few English rock 'n rollers of the period who could (and did, on stage and on television) stand alongside the likes of Eddie Cochran and Gene Vincent with no apology or excuse for being there" Fury had the Presley image well and truly sussed. His somewhat suggestive on-stage antics (he used his microphone as a sexual prop) were severely criticized by a number of individuals who believed he was responsible for corrupting the entire population of UK's female youth. Consequently Billy was told to "tone-down" his act. He continued to write his own material and in 1960 recorded an album's worth of his own songs, some of which were written under the pseudonym of Wilbur Wilberforce. Fury had successfully borrowed Presley's look - the resulting album "The Sound Of Fury", produced by Jack Good - did a more than capable job of replicating the man's music. It was effectively the UK's first rockabilly album and with Joe Brown doing his best Scotty Moore and Andy "Love Me Do" White on drums the record was and still is one of the most authentic rock n'roll albums produced outside America. (In an interview conducted in 1970, Keith Richards called it one of the greatest Rock N'Roll records of it's era). Mr.Parnes however, was unsatisfied and in an attempt to make Fury a more palatable product, was responsible for a spate of cover versions that were chosen to "smooth out" Billy's sound. Despite the overtly commercial material, Fury's career continued to go from strength to strength. This was partially due to the fact that the songs covered were always intelligently chosen, but it was also becuase Fury had the talent to pull them off.

BILLY FURY - Turn My Back On You (1960) - From "The Sound Of Fury"

Fury never achieved a No.1 hit record, but both "Halfway To Paradise", a Goffin/King number originally recorded by Tony Orlando, and "Jealousy", reached No.2 in 1961. But in terms of Top 10 hits alone, 1962 and 1963 were his best years. 1962 also saw Fury make his acting debut in the film "Play It Cool", a somewhat forgettable Teenploitation movie that was all part of the process of transforming the singer into "Mr.Versatility", a role that Fury disliked but which was nevertheless expanded upon with numerous appearances in variety shows and the dreaded panto. In 1963, his "We Want Billy" album was one of the very first live records to be released in the UK whilst during 64 & 65, his single releases continued to chart, though less frequently than they had previously. During the mid-60's Fury's heart condition began to take it's toll and in 1967 he required surgery which not only brought a premature end to his concert performances but effectively suspended his career for several years. During his convalescence, he discovered a love for birdwatching but in 1971 further, more extensive, surgery was required and with an increasing dependence on alcohol due to depression, Fury's almost non-existent career suddenly put Billy in a somewhat precarious financial position. In 1973 he re-appeared in the public eye for the first time in a number of years with a cameo appearance as singer "Stormy Tempest" in the film "That'll Be The Day" alongside Ringo Starr and David Essex but unfortunately, further surgery was required in 1976 and just 2 years later he was declared bankrupt, a situation that was only resolved after an agreement with the Inland Revenue saw Fury re-record his hits for K-Tel in 1978. Undoubtedly against doctor's orders, but under pressure to keep the money rolling in, Fury signed a record deal with Polydor in 1981 and recorded a "comeback" album entitled "The One And Only", but in March 1982, he collapsed at his farm, suffering partial paralysis and temporary blindness. He recovered from this latest ordeal, and remained determined to resurrect his career with a live TV show appearance and a national tour, but on 28th January 1983, he was found unconscious in his St.John's Wood flat and pronounced dead on arrival at St Mary's Hospital, London.

BILLY FURY - Halfway To Paradise (1961)

There can be no doubt that Alford regarded this concert as being of prime importance. It was to be the final gig of their Spring season prior to taking a 3 month break and apart from laying on coaches for people living in Weston-Super-Mare and Burnham-On-Sea there was also a significant hike in the cost of the ticket, 7 shillings as opposed to the normal entrance fee of 3 or 4 bob. In the end, it backfired on them. The Top Twenty had been getting about 350-400 punters every Monday for quite some time, but on this occasion the undoubted star quality of the singer made no difference when it came to forking out hard cash and only 200 people turned up.

There is an unsubstantiated rumour that during this concert, a male member of the 200-strong crowd took umbrage at a Fury comment that questioned the audience's mentality whilst also doing nothing for the North/South divide. (Fury apparently dedicated a song to all the "suedes" in the audience - that's the vegetable incidentally, and not a selection of fans from Stockholm.) The aforementioned punter, a market stall owner, armed himself with some brussel sprouts, no doubt during the interval, which were then pelted at the vocalist mid-way through a vocal performance. Fury - not a man to be trifled with - stopped the band mid-song, pointed to the guy in question and promptly told him to "F*** Off!". Exit punter, suitably embarrassed with the band continuing the song where they had left it.

BILLY FURY - Ain't Nothin Shakin'(1964)

30th May 1961

"Bridgwater Borough Magistrates yesterday granted an application for a licence for a juke box for a cafe at 10 Clare Street, Bridgwater despite police opposition. Making the application on behalf of Mr.James William Ellick of 66 Ashleigh Avenue, Bridgwater, Mr.R.G.Ash said the juke box would be controlled by a switch behind the counter and it would be used only from 8 am to 6 pm. The cafe is closed at 6 pm. so there was no question of trouble with gangs of youths. Opposing the application, Inspector C F Searle said he was instructed to do so becuase of the type of instrument. Juke boxes were inclined to attract the rowdy element and sometimes gave rise to complaints in relation to traffic from the congregation of youths and motor-cycles. The chairman (Mr E L Kelting) told Mr.Ash that the magistrates wanted Mr.Ellick to realise that the matter would be reconsidered when the licence became due for renewal in March, should any kind of nuisance result."

June 1961

"When the police objected yesterday at Bridgwater Borough Magistrates Court to the proposed installation of a juke-box in a Bridgwater cafe, the tenant told the Magistrates it had been installed last January. Mr.Leslie Norman Iles, of the Sunshine Cafe and Guesthouse, Bristol Road, Bridgwater said that the people who had installed the machine had told him that they did not think music liecences were required in Bridgwater. He had since seen in the Press a report of an application for a music licence in respect of another cafe, and he wished to be legally covered. In reply to the police objection that juke-boxes led to rowdyism and undesirables, Mr. Iles said he had had no trouble since his was installed. "The worst we get are the schoolchildren" he went on. "We have had a few teddy boys but we have had no trouble from them. The school children are the noisiest"

During August and September other concerts of interest sporadically appeared at The Town Hall. An arrangement with the West of England Jazz Society yielded a series of gigs, some of which ran alongside the Top Twenty for a short while. Bob Wallis & His Storyville Jazzmen were first to appear on 19th July and unsurprisingly this prompted a small Bridgwater Mercury review. "Despite the abundance of dark glasses, droopy sweaters and bearded faces, the true "traddie" was missing from the show and so accordingly was the atmosphere which pervades most concerts or festivals" suggested the Mercury's "Trad Jazz" expert. (In other words, nobody turned up.) As far as my theory regarding the Mercury's editorial bias against rock music is concerned, it's worth noting that at this point The Top Twenty had been going for exactly one year but not so much as a word had ever been written about it, yet as soon as the more respectable Wallis & Co come to town, the newspaper sends a roving reporter post haste to cover the great event.

A couple of interesting items suddenly appeared in quick succession. On Friday 11th August "G.B. Rockshows Inc" promoted the appearance of "World Drum Beat Champion" Rory Blackwell. Blackwell's grandiose global monicker had arrived via his successful attempt at breaking the world record for non-stop skin-bashing. If this suggests that he was nothing more than a novelty act then it is worth noting that Blackwell holds a distinctive position within the history of British popular music as he was the leader of the country's first rock band. Ken Colyer's Studio 51 in London's Great Portland Street had opened on the 24th August 1956 with an appearance by Blackwell and on the 6th September at the same venue, "Rory Blackwell's Rock N'Rollers" recorded the first ever rock n'roll session to occur in the British Isles. He was closely followed by the more authentic Tony Crombie's Rockets but even though Blackwell wasn't necessarily the best, he was certainly the first.

I am not entirely certain as to what status Blackwell had achieved by 1961. I dare say he was more renowned for his exploits as a percussive marathon man than for any significant recordings that he might have made. Throughout it's history, rock n'roll has been extremely unkind to those who steadfastly belong within a certain timeframe and who share a reluctance for change so chances are that Rory was already regarded as being part of the past by the time he played here but at least the guy had/has history on his side.

RORY BLACKWELL - Fabulous (1961)

The Top Twenty finally re-appeared on Monday 4th September, but not before another "GB Rockshows Inc" presentation rocked the town (or at the very least gave it a slight shove.) During the first weekend of that month the Town Hall became the rockingest venue in Somerset as on Friday 1st September, just 3 days before The Top Twenty re-opened it's doors to the public we were treated to an appearance of something obliquely called "ROCK N ROLL ALL STARS" - "London's Greatest Touring Rock Show". The rather bland advertisement promoting this mysterious event gave nothing away, and despite the ad's rhetoric I haven't been able to find out anything about this performance. Who were "G.B.Rockshows Inc" anyway? Judging from their rather grandiose title it could either have been a major London promoter with designs on taking over the country or a company run by some bloke from his upstairs bedroom in Dampiet Street. Answers on a proverbial postcard please.

In what must have been a flurry of activity, The Town Hall was hastily prepared for the next exciting episode of Rock N'Roll mayhem. Having finally cleared the theatre of discarded lipstick and piles of dandruff, The Top Twenty was back in action.

4th September 1961

Danny Davis/Brian Fisher/Shirley Gaye & The Semitones

On the 8th September, the West of England Jazz Society once again promoted a Town Hall concert as part of their Trad Jazz series, though this one was a little more significant as it featured George Melly with Mick Mulligan and his Band. This may have been Melly's first appearance in Bridgwater but it was certainly not to be his last.

11th September 1961

The Antones/Sandra McCann/Mike Storm/Johnny Gregg & The Comets

18th September 1961

RICKY FORDE & THE CYCLONES

("A new up and coming group")

It would be tempting to promote Ricky Forde & Tne Cyclones as "Just another band from Bristol", but thanks to an article from the "This Is Bristol" website, it is possible to throw some flesh onto the bare bones of their career. Ricky (real name Bill Green) was an ex-railway clerk who, by the very early 60's, was fronting The Cyclones, a band that had gained some notoriety locally. In 1963 the group came to the attention of "chart toppers" Peter & Gordon during one of the latter's nationwide tours and whilst the folky duo were sitting at the top of the charts with "World Without Love", word got out that Ricky and the boys were required as P&G's touring band. Unfortunately, the deal did not involve Ricky being in the line-up and he was promptly made "surplus to requirements". The price of Ricky Forde's fame? An expensive overcoat given to him as a parting gift by Peter Asher. Forde, however, was not unemployed for long and very quickly hooked up with another local combo called The Marauders soon after. During 1964, Ricky was involved in a "controversial" Bristol-produced rock'n'roll play called "A Man Dies", a piece that was co-written by a local church minister and which was heavily criticised for it's so-called "blasphemous" content. The album of the show, which featured Forde reprising his stage performance, was recorded at the Abbey Road studios. Forde then joined forces with Brian Epstein, and obtained a number of bookings through Epstein's NEMS agency. An attempt at a recording career followed with further recordings at Abbey Road taking place with the one and only George Martin at the helm but the only item that was released was the 1965 Parlophone single "You Are My Love". Needless to say, it made no headway in the charts and indeed the only noteworthy fact regarding this song was that it was "almost" recorded by one of Forde's idols, Roy Orbison.

25th September 1961

Johnny Carr & The Cadillacs
("Just back from their German tour")

16th October 1961

JOHNNY & MIKE with THE SHADES (featuring Jackie London)

Johnny & Mike with the Shades were built around the respective talents of vocalist Johnny Cannon (John Symonds) and drummer/vocalist Mike Wayne (Michael Long.) Based in Bath, they were very much a "nearly" group that failed to hit the big time, largely due to a series of unfortunate circumstances. Formed in early 1959, Mike Wayne was originally with a band called The Pacific Five whilst Cannon drummed with local rivals The Dominoes. After the two joined forces, they turned professional in October 1962, but having gained a solid reputation and despite touring with some of the best in the business (The Everly Bros, Roy Orbison, The Rolling Stones), they remained a band waiting for their big break after a number of bad career moves served to cook their proverbial goose. Signed by Decca after an impressive performance on "Saturday Club", they moved to London under the guidance of manager Jack Fallon and almost immediately the record company ushered the group into the studio, where a great deal of time and money was spent on the band's recording of The Coasters "Poison Ivy" for debut single release. I say "band recording" but vocalists Cannon & Wayne were the only group members involved, "The Shades" having been told to kick their heels whilst session men like guitarist Big Jim Sullivan played their respective parts. The song was eventually ditched after a Decca big-wig took a personal dislike to the finished product. Allegedly boasting John Lennon & Paul McCartney as fans, manager Fallon refused to allow Brian Epstein to sign them to his impressive roster of artists and, just to rub salt into their wounds, they later they had the ignominity of having their arrangement of "You'll Never Walk Alone" stolen by Gerry Marsden of Pacemakers fame after he'd heard the band perform the song at a club in Widnes. Inevitably they faded into obscurity despite the occasional single release, including, as the “Cannon Brothers with The Shades”, the 45 “Turn Your Eyes To Me” which appeared on the ultra obscure BRIT label in 1965, peaking at No.36 in the Radio London Fab 40 chart. The band eventually called it a day in 1967 but drummer Pete Gavin survived however, later becoming an original member of Heads Hands & Feet alongside Chas Hodges of Chas & Dave fame and one of the finest guitarist's in the cosmos, Albert Lee.

JOHNNY, MIKE & THE SHADES - This Boy (from "Saturday Club") (1963)

MP3 courtesy of Shades bassist Noel Lawrence.

23rd October 1961

PAUL CLAYTON & THE CORVETTES
("Another Great New Discovery Group")

Guess where this lot came from? Yep, you guessed it - Bristol!

13th November 1961

Ricky Forde & The Cyclones

27th November 1961

DUFFY POWER

Power (real name Ray Howard) was yet another Larry Parnes discovery (Perhaps The Top Twenty only needed the appearance of 3 more Parnes singers to collect the set and receive a special certificate.) Power had been working in a laundry when he was discovered in 1959 at the tender age of 17. Parnes was in a London cinema, catching up on some local talent but witnessed the teenager winning a Saturday morning "jive" competition with his band Duffy & The Dreamers and promptly signed him to one of his "I'm-going-to-make-you-a-star-if-you-stick-with-me" contracts. Power's career never really blossomed under his manager's tutelage, partially becuase of a lack of decent material but also becuase Duffy was a bit of a rebel who lived the Sex, Drugs & RockN'Roll lifestyle way before the term had been invented. Dressed in leopard skin jackets and gold lame waistcoats, he was a great live performer but seemed unable to transfer his on-stage energy to the recording studio and his Fontana single releases - cover versions of songs like "Ain't She Sweet", "Dream Lover" and "Whole Lotta Shakin Going On"- were disappointing. Only one single was issued in 1960 and just 2 more appeared during the following year. With his career in the doldrums Power suffered from acute depression and during 1961 tried to commit suicide. His attempts to end it all were apparently interrupted by a friend's phone call. A casual visit to a blues club eventually became a musical epiphany for Duffy, with Power suddenly realising the direction in which to take his career. He split with Parnes and later resurfaced a couple of years later alongside future Cream members Jack Bruce & Ginger Baker as a member of The Graham Bond Quartet/Organisation. Their 1963 recording of "I Saw Her Standing There", one of the first ever Beatle covers, has been called "a milestone of British Blues". Power later joined Blues Incorporated, a band of great historical significance from a UK perspective. Hosted by Alexis Korner, it has not only been heralded as Britain's first blues/rock band, but it included within it's constantly changing line-up, a host of musicians that were at the forefront of the 60's British Rock movement. Duffy appeared on three of their albums - "Red Hot From Alex" (1964) "Sky High" (1966) and "Blues Incorporated (Wednesday Night Prayer Meeting) (1967), but not long after his final stint with the band, the singer found himself out of work and, partially due to drug dependancy, became mentally ill. Thankfully he recovered and worked as a session musician (he appeared on the soundtrack to "The Italian Job" in 1968) before finally releasing his one and only critically acclaimed album in 1973, a record that was co-produced by Andrew Oldham.

I believe that Power had already parted company with Larry Parnes by the time he had made his Top 20 appearance, nevertheless his departure from the Parnes stable and the subsequent re-invention that followed makes him one of the very few artists who was single-minded enough to leave the straightjacketed world of screaming teenagers and substandard cover versions behind in order to take his career into his own hands.

DUFFY POWER - What Now? (October 1961 - B-side of "No Other Love")

4th December 1961

BOBBY ANGELO & THE TUXEDOS
("Jivers please note : Jiving competition tonight!!!!!")

Originating from Walton-On-Thames under the name of Bobby Vincent & The Shadows, singer Bobby Hemmings idolised the leather-clad Gene to such an extent that he adopted both his surname and some of his stage mannerisms. His backing band's decision to choose a monicker that was synonymous with another well-known beat group from this period became a problem that had to be hastily rectified. So by early 1961, Vincent had adopted the Italian sounding Angelo whilst the backing band took their new identity, not from the dinner jacket, but from a new guitar that had recently appeared on the market. Their debut single for the HMV label, "Baby Sittin'" reached No.30 in August 1961 and was based on the distinctive sound of lead guitarist Pete Cresswell's Stratocaster. Despite Cresswell's star turn he was apparently paid just £5.00 for his troubles and wisely decided to vacate the Tuxedo's guitar slot due to his lack of financial recompense with drummer Mick Avory, he of Kinks fame, leaving with him. The follow-up "Don't Stop", ditched the Tuxedoes altogether - a session band taking their place in the studio.* This song also featured female backing vocalists and a more confident Angelo lead that incorporated that well-known vocal technique known as the "Holly hiccup" but despite another authentic rock n'roll guitar break that temporarily lifted the song from the doldrums, the change of direction didn't work and the single failed to chart. And that appears to be the sum total of the band's endeavours. Having been unceremoniously dumped by the record company and their vocalist, The Tuxedoes at least found a career post Angelo, later re-emerging as "The Innocents" and becoming Mike Berry's backing band in the process (see Berry entry) whilst Angelo, apart from a handful of solo releases, disappeared off the music map altogether. "Baby Sittin", their 2 and a half minutes of fame, is a little more authentic than most of the music that was being performed by British acts at the time so it's strange that their career should have had such a short shelf life. The only insight into the group comes from bassist Dave Brown who offers the following "We mainly toured the South of England and Germany. It was sometimes bloody hard work but all in all great fun and I'm glad to have been part of early British Rock 'n Roll however lowly a part that may be."

* This was, unfortunately, common practice throughout the 60's (see Johnny, Mike & The Shades entry). Having signed on the dotted line, there were many musicians who suddenly found themselves on the musical scrapheap as "top" session musos were brought in to provide a more polished sound. Even Ringo Starr was told to shake a tambourine during the first Beatle recording whilst session man (and former Billy Fury drummer) Andy White played the perfunctory "Love Me Do" drum part which proves that it could happen to even the best of them.

BOBBY ANGELO & THE TUXEDOS - Baby Sittin' (1961)

11th December 1961

Royston Jones & The Raiders

18th December 1961

NELSON KEENE

The last member of the Larry Parnes caravan to play the Top Twenty, Keene, real name Malcolm Holland was born in Farnborough and was one of 10 children. Never one of the stellar artistes in Parnes stable, he recorded three singles for HMV, with "Image Of A Girl" released in 1960, his biggest hit, reaching No 37 in the UK charts. "Keep Loving Me" appeared during the same year whilst "Miracles Are Happening To Me" was released in 1961. Unfortunately miracles don't always happen as even divine intervention could make him a star and he disappeared into obscurity. According to that fountain of all knowledge Wikipedia, as of 2010, Keene was alive and well and living in Australia.

NELSON KEENE - Image Of A Girl (1960)

Ricky Forde & The Cyclones

Dean Torrent & The Pressmen

CAROL WATERMAN

The final Top Twenty concert of 1961, as the advertisement clearly stated, was a "Christmas Spectacular" that not only boasted the talents of no less than 4 different artistes but was so damn exciting that even the balloons get a credit of their own, alongside something belwilderingly referred to as the "Yes & No Interlude", whatever that was. Even though Nelson Keene was the undisputed "star" of the show, perhaps of more interest were the artists that appeared with him. Of these, Forde & the Cyclones from Bristol and Bridgwater's very own Torrent & The Pressmen had appeared previously, but the addition of Carol Waterman "singing pop songs" (as if she would do anything else) is significant. For Carol was and in fact still is none other than Carol Lee-Scott aka Grotbags, the children's entertainer from the 1980's who shot to prominence on shows such as "The Rod Hull & Emu Show" (full story hopefully to follow).

The Artists 1962

2009-09-29T15:16:00.001-07:00

From January 1962 through to the summer break in May, The Top Twenty seemed to be treading a little water. A lot of the bands that appeared were either making return visits or were part of the Bristol/Bath/Southampton set-up that had served Graham Alford so well previously. It wasn't until the latter part of the year that we saw some fresh faces and by then, the seeds of a new era in British popular music were beginning to grow.

8th January 1962
Johnny, Mike & The Shades

15th January 1962

Danny Davis
GARY and LEE
THE PARAMOUNTS

If you are a music enthusiast with a keen sense of rock history then you will know that "The Paramounts" was the original band name of what later became Procol Harum. Based in Southend and formed in 1959, their original line-up featured Robin Trower, Chris Copping, Mick Brownlee, Bob Scott and the 14-year old Gary Brooker, all of whom were members of the group that famously scored a No.1 hit in 1968 with "A Whiter Shade Of Pale". It is extremely unlikely however that the band that shared the stage with Danny Davis & Gary and Lee on this day in the Top Twenty's history are one and the same due to at least two reasons. The first is the proliferation of local artists that were booked by Graham Alford during this period. The second, and most convincing piece of evidence is that The Southend Paramounts did not turn professional until 1963 and hardly ventured outside of the Southend area gig-wise until that year. I have been unable to unearth evidence of any other band called The Paramounts, but that hardly suggests that the band operating under this name on the 15th January 1962 were "skipping the light fandango" in Bridgwater's Town centre 6 years before reaching the toppermost of the poppermost. Chances are they were part of Len Canham's Southampton agency, but of course this could just be a selection of scruffy herberts whose previous live appearance was in the Crown Inn's skittle alley. Regarding Brooker & Co, we only had to wait another 2 and a half years for the more infamous Paramounts to play as they turned up at the Top 20 in December 1964. As for "Gary & Lee", the only information available is from a faded programme of a gig at which they provided support for Jet Harris. "Gary & Lee are better known in their home town of Gosport as Derek & Alan Knight. Their first step on to the ladder of success was taken when a Portsmouth promoter raved about a tape recording of the boys" And there I was thinking that it was an impromptu performance by the Top Twenty bouncers.

29th January 1962
Sandra McCann/Mike Storm/The Antones

LEE SCOTT & The Comets

Another appearance by the West Country's own Funk Brothers, The Comets - this time backing yet another lost and forgotten Bristolian vocalist.

5th February 1962
Johnny Carr & The Cadillacs

12th February 1962
Ricky Forde & The Cyclones

19th February 1962
Royston Jones & The Raiders

26th February 1962
Paul Clayton & The Corvettes

The advert (left) highlights within it's small print that lost and forgotten group Paul Clayton & The Corvettes (making their second appearance at The Town Hall) but there are two other reasons for including it here. Firstly the nation's fascination for "The Twist", a dance craze that refused to go away and secondly the reference to the TWW TV program "Discs A Go-Go". "Discs-A-Go-Go" featured a very young Tony Prince prior to his defection to Radio Caroline and was also co-hosted by Kent "Hello grappling fans" Walton several years before he became the commentator for the Saturday afternoon wrestling, a curiously essential viewing habit that practically EVERYONE between the ages of 50-60 has a fond memory of. Discs-A-Go-Go was the successor to another long-forgotten TWW pop programme called "Now!" and was recorded at both their Bath Road studios in Bristol and, I believe, in Cardiff also. It was franchised out to a number of local television companies such as Tyne Tees, but to my knowledge did not appear in London and other parts of the UK. Artists gave "in-the-studio" performances in front of a live audience, a relatively new concept back in those days and an idea which was later used to particularly good effect by the most memorable of all 60's pop programmes, "Ready Steady Go". "Discs A Go Go" also had a rather cheesy method of presenting records by artists who were unavailable to appear. A series of cartoon drawings of a fox were used to illustrate the theme and the lyrics of the song. With alarming originality the animal was apparently called "Foxy" and if you wrote to the TV station you became the proud owner of a free "Discs-a-Go-Go" "Foxy" badge. Apparently, for some local punters at least, "Discs-A-Go-Go" was as much a part of the local scene as the Top Twenty with various patrons recalling frequent visits to the Bristol TV studios for the weekly Wednesday taping of the show. As for The Twist , like all dance crazes (and there were an awful lot of them in the 60's) it overstayed it's welcome yet by 1963 it was still being promoted locally with frequent twisting competitions held at both The Town Hall and The Odeon.

When dances like the "twist" and all its later developments are introduced, the young accept them eagerly and without question, while their parents raise their eyebrows or smile indulgently for a while and then take them up with almost equal fervor, ostensibly in order to project the youthful image themselves. What they fail to realize is that such dances have their origin in pagan fertility dances that were performed in times past as a part of immoral religious rites. And just as they were designed to arouse the sexual emotions of the participants in the religious orgies, so their modern-day counterparts contribute to the loosening of moral inhibitions.

Those who subscribe to the modern morality that allows for premarital sex relations have no objection to this. But what of those who have no such end in view, who may be indulging themselves simply because it is the custom? Such ones should not deceive themselves. They are still affected emotionally in the same way. Stimulation of this sort inevitably leads to improper inclinations, and those who entertain wrong desires can be just as completely overtaken as the twenty-four thousand were in succumbing to the Baal of Peor in the days of Israel.-Num. 25:1-9." THE WATCHTOWER

So to recap.....on the 26th February 1962, Bridgwater Town Hall was subjected to a demonstration of a new dance craze followed by a sex orgy free-for-all. And, leaving the missus behind, you popped over to the Duke for a couple of pints didn't you?

19th March 1962

DEAN PRINCE & THE DUKES

Yet another proverbial Bristol band.

26th March 1962
Barrie James/The Strangers

SANDRA LAINE

There is a strong possibility that Sandra had appeared at the Town Hall previously but not as a "headliner". She was part of the never-ending supply of Southampton based artists and is, in fact, the bouffant-bedecked female spotted in the Dezo Hoffman photograph of Barrie James (see 1960) who, as it happens, appeared on this very same bill with the female singer.

9th April 1962

The Comets/The Antones/Mike Storm/Lee Scott

KIM TAYLOR
("An attractive newcomer ")

For Kim Taylor, see Sandra Laine above. A Bristol equivalent, one would imagine, of the Southampton chanteuse.

16th April 1962
Ricky Forde & The Cyclones

30th April 1962
The Shades Instrumentals (with Johnny & Mike + Young Jackie London)

7th May 1962

MIKE BERRY & THE OUTLAWS

Mike Berry (real name Michael Bourne) was a native of Northampton and progressed from skiffle group "The Rebels" to a band called "Kenny Lord & The Statesmen". Whilst with the latter, a demo was delivered to both Jack "Oh Boy!" Good and Joe Meek both of whom were sufficiently impressed to jostle for Berry's attention. Meek eventually got the singer's vote by suggesting that he could become the new Buddy Holly despite the fact that Berry's voice sounded more like a cross between Billy Fury & Adam Faith. In the end it was a rather macabre marketing idea that eventually got Meek the gig. He suggested releasing an album featuring a picture of the singer superimposed onto a ‘ghostly’ photograph of the deceased Buddy, an idea that Berry obviously approved of but which, fortunately, never happened. Berry spent months waiting for Meek to come up with a sure-fire hit but his first single release, a fairly lame cover version of the Goffin/King classic "Will You Still Love Me Tomorrow", flopped. (It's "B" side "My Baby Doll" was such a blatant copy of the Holly style that I'm surprised Buddy's producer Norman Petty did not sue for plagiarism.) Finally in October 1961, 9 months after signing up with the eccentric producer, Joe Meek produced the overtly sentimental "Tribute To Buddy Holly" and it reached the heady heights of No.24 in the UK singles chart. The song's sentiment may well have been genuine but Berry was criticised for cashing in on Holly's unfortunate death but then, in fairness, he wasn't the only one. (Tommy Dee's appalling "Three Stars" is just one song that springs to mind.)* Rumour has it that Mike Berry's heartfelt "tribute" was given a seal of approval from beyond the grave by the great Buddy himself at a specially arranged seance. The fact that the tune was written by part-time spiritualist Geoff Goddard may be no coincidence. Berry obtained two further hit singles in 1963, his biggest being "Don't You Think It's Time" which reached No.6, whilst "My Little Baby" was less successful, peaking at 34. Berry split from Joe Meek during the 60's and joined forces with Robert Stigwood, the Australian entrepreneur who was in the process of setting up his own music empire. Berry's first single for Stigwood in 1964, the self-penned "On My Mind" was an excellent example of British Beat, but generally the move was not successful for either party and appearances in the Top 40 soon ceased altogether. Apart from an unexpected Top 10 hit in 1980 with the ballad "The Sunshine Of Your Smile", Berry is better remembered in later years as an actor having appeared in "Worzel Gummidge" from 1979 to 1981 and as Joe Spooner in the BBC TV program "Are You Being Served?" As for Berry's Town Hall gig, the singer went through a number of backing bands during the 60's, with Bobby Angelo's Tuxedoes (under the name "The Innocents") supporting Berry for awhile, but the band that played The Town Hall - The Outlaws - not only became his regular group, they also recorded a variety of cowboy-themed Joe Meek instrumentals under their own name and by 1964 boasted the talents of Ritchie Blackmore of Deep Purple fame as their guitarist. Blackmore was not at the Town Hall gig in 1962 but Chas Hodges of Chas & Dave fame was, as he was an original member of the band.

* In later years, Berry traded heavily on being a Buddy clone, consequently his web-site calls Mike "Britain's Buddy Holly" which is probably taking things just a little too far. However it also mentions that Berry appears every year at Paul McCartney's annual birthday party that celebrates the bespectacled American's birth, so if it's good enough for Macca, then who am I to argue?

MIKE BERRY & THE OUTLAWS - Tribute To Buddy Holly (1962)

14th May 1962
The Ramrods (and Dale Rivers)

21st May 1962
Johnny Carr & The Cadillacs

28th May 1962

RUSS SAINTY & THE FABULOUS NU NOTES

East-Ender Russ was born Alfred Sainty in April 1938. (Sainty apparently changed his christian name after, quite rightly, being told by his girlfriend that Alfred was "not rock n'roll enough") A patron of the 2 I's coffee bar in London he was a regular performer at the Compton Street venue for about a year, and during this period was backed by Tony Sheridan & his band. Sheridan had been a member of the London music scene for quite awhile without ever getting that "lucky break" but will forever have a place in music history for famously using The Beatles as his backing band whilst recording with German MOR producer Bert Kaempfert in Hamburg during 1961. In 1959 Sainty passed a BBC audition which led to more than 500 radio appearances. He became a regular on The Saturday Club and also appeared on "Pop Go The Beatles". Sainty was head-hunted by a teenage quartet called The 4 Teens, who needed a lead singer and subsequently the band became The Nu-Notes in the process. Sainty's first single release "Happy-Go-Lucky-Me" appeared on Top Rank in 1960 but after the label went under, Russ found it difficult to hold down a regular contract and over the space of 3 years appeared on Decca, HMV & Parlophone. Decca's "Too Shy" (1960) and "Don't Believe Him, Donna" (1961) were followed by a couple of singles on HMV during the year of his Bridgwater appearance, with neither "Keep Your Love Locked" or "Send Me The Pillow You Dream On" threatening world domination. The band opened the famous California Ballroom in Dunstable on the 12th March 1960 (Sainty's nickname was "King Of The Cali") and also enjoyed a summer season at the Bognor Regis branch of Butlins in July of that year but apart from that the only other interesting fact is that The Fabulous Nu-Notes line-up included three guitarists of note. In 1961 super session man Big Jim Sullivan was replaced by Roger Dean, who later turned up in John Mayall's Bluesbreakers, whilst original guitarist Rhett Stoller apparently penned the "Match Of The Day" theme music!

RUSS SAINTY & THE FABULOUS NU-NOTES - Race With The Devil (1960) (b-side of "Too Shy")

At this point, The Top Twenty paused once again for the summer months but during the break in it's transmission, parts of the film "Tom Jones", starring Albert Finney & Susannah York, were filmed in Castle Street from the 24th to the 27th August.

21st August 1962

FILM-MAKING IN BRIDGWATER - Castle Street is the location area

"Scenes for the £400,000 screen version of Henry Fielding's "Tom Jones" will be shot in Castle Street, Bridgwater this week-end and members of local amateur dramatic societies will be employed as extras. The production unit - from Woodfall Films - will be on location in Bridgwater from Friday until Monday and people in the Castle Street area are being advised by the police on parking and other traffic problems which might arrive. Keystone of the Woodfall company is Tony Richardson who moved from a successful career in the theatre and TV to produce and direct the much lauded "Look Back In Anger" both on stage and on screen. "Tom Jones" reunites Richardson with the author of "Look Back In Anger", John Osborne, who is said to have turned Fielding's rambling novel into a fast-paced, humour-filled script that retains all the boisterous flavour of 18th century England. Acting the part of Tom Jones is 25-year-old Albert Finney who impressed audiences in his first starring role in the Richardson-produced Woodfall film "Saturday Night And Sunday Morning". The female lead is played by blonde Susannah York"

28th August 1962

"TOM JONES" COMES TO TOWN" - Bridgwater provided ideal background for part of £400,000 film.

"The clatter of hooves and the rumble of horse-drawn carriages have once again echoed - for the first time in possibly 50 years - in Castle Street and King Square, Bridgwater where on Friday and throughout the week-end scenes reminiscent of the 18th century have been witnessed by crowds of townspeople. With the horses and carriages came all the latest techniques of the film industry and Bridgwater's little Georgian corner was given all the necessary treatment to make it look exactly like as it may have looked in the 1700's. Hundreds of townspeople went along to watch a unit from Woodfall Film productions filming scenes for the £400,000 film version of Henry Fielding's "Tom Jones". It was the first time ever that Bridgwater had been chosen as a location for a big film and when "Tom Jones" comes to the local screen there will certainly be full houses at each performance. The scene at Castle Street which was filmed on Friday morning showed Tom's father arriving by coach at a house in London"

"Tom Jones" was given a Royal Premiere in front of the Duke Of Edinburgh in July 1963.

7th September 1962

On the Friday before the Top Twenty re-opened, Royston Jones & The Raiders made a return visit to the Town Hall but on this occasion as the headliners for a "Friday Jive Night". It would seem that the popularity of this "teenage music" was beginning to spread.

10th September 1962

THE BARRON KNIGHTS

After the proverbial three month lay off, the club returned with a band confusingly billed as "A Fabulous Group with a New Sound - Saxes & Electric Vibes". Under normal circumstances, this rather unusual instrumentation would be uncommon, but when it is attached to a combo more noted for it's belly-laughs than beat music, something doesn't quite add up. The Top Twenty's advertising department sometimes had the habit of getting things completely wrong when describing the assets of their latest acquisition. As an example, the stock definition "Vocals - Instrumentals - Comedy" was used so often to describe an artist's assets that one gets the impression that this "catch-all" description was employed in the absence of any known information about the band in question. In the case of this concert, someone must have got their wires crossed, unless The Barron Knights spent a small part of their history masquerading as a jazz group, which is exceedingly unlikely. Ironically the "Vocals - Instrumentals - Comedy" tag mentioned above would have been a more accurate narrative for the Barron's though it is worth noting that "The Knights Of The Round Table" (as they were originally called) started out as a "harmonizing vocal group" from Leighton Buzzard so it's possible that this concert took place before they found their niche as a band with a show-biz sense of humour and the propensity to mimic other artists. Early singles for both Fontana ("Let's Face It" - 1962) and Columbia ("Jo-Anne" - 1963 and "Comin Home Baby" - 1964) saw no chart action whatsoever whilst playing it straight musically. They remained, at least for the time being, a pop group with comical overtones and it wasn't until they went to Hamburg to play the Top Ten club (literally half the club that the Top 20 was!) that they changed their musical focus and returned with a new "cabaret" image that was annoyingly close to "light entertainment". The first of two big breakthroughs occurred in 1963 when they were spotted at a gig in Liverpool by Brian Epstein and were asked to support The Beatles on their debut UK headlining tour, culminating in a hugely successful appearance at The Fabs Christmas Show. Their second came in 1964 when "Call Up The Groups", an item that had been a highlight of their stage act, reached No.3 in the charts. The single was based around the idea of pop artists being conscripted into the army and featured impersonations of a number of bands performing their recent hits but with the lyrics suitably altered to fit the subject matter. Despite having to overcome 17 copyright infringements, the single launched the Barron Knights career and from this point on they played things almost entirely for laughs. Other hits followed in a similar vein including "Pop Go The Workers" and "Merry Gentle Pops" in 1965 and, during the height of punk rock, both "Live In Trouble" & "A Taste Of Aggro" reached the Top 10 in 1977 & 78 respectively. As for the Bridgwater Mercury's billing above, Duke D Mond was the pseudonym of band member Richard Palmer who died in April 2009, whilst the most well-known line-up included Barron Anthony (Anthony Osmond), Leslie "Butch" Baker and um....Pete & Dave (Pete Langford & Dave Ballinger).

DUKE D.MOND & THE BARRON KNIGHTS - Jo-Anne (1963)

17th September 1962

ALAN G.READ & THE STATESMEN
("The full sound with sax for a good beat")

"One of the founding fathers of the Bristol scene. I first met him in 1958 when he fronted The Cemetry Skiffle Group! Been mates ever since. He was also guitarist in Daryl Grant & The Descants, and was with me in The Franklyn Big 6. He & I went on in the late sixties to promote gigs in Bristol, particularly @ The Old Granary. Al wrote a great book about that, still available. He was a presenter on BBC Radio Bristol for many years" Mike Tobin aka Mike "Boppin" Tobin, veteran of the Bristol music scene, one time member of Mike Tobin & The Magnettes (1957-1964) and The Franklyn Big 6 (1965 to either 1967 or 1968). Currently manager of Yatton's one and only Stackridge.

18th September 1962

As a result of the decision by the Minister of Housing and Local Government, Bridgwater is to have it's first "Teenage Club". It will be at 23-25 St.Mary's Street. The club will be run by Mr.Ivor Richards who was informed last week that an appeal against Bridgwater Town Council's refusal to permit change of use of part of the present garage premises, formerly Holley's, had been upheld.

24th September 1962

COLIN & BRUCE
("From TWW's "Looking For A Star")

THE DETOURS

This could have been interesting as The Detours were the name of a skiffle band formed by The Who's Roger Daltrey and which featured a line-up that included both Pete Townshend and John Entwistle. It would be nice to think that there is a possibility that this might have been Daltrey's embryonic Who line-up but.....it isn't. If I hadn't got so carried away by what I thought was an exciting discovery I would have noticed that the advertisement lists this group as an instrumental band (They were in fact Colin & Bruce's backing musicians and, I believe, were from Alford's home town of Trowbridge.) The Detours returned in March 1963 with Pete Townshend still nowhere to be seen. However in April 1965.............

27th September 1962

Another independent gig at The Town Hall this time featuring the mysterious Tony Martell & the Troubadours with the equally obscure David Whitfield & The Rapids.

1st October 1962

"Rock And Twist Spectacular"
Barrie James/Gary & Lee/The Strangers/PATTIE KNIGHT

The inevitable return of the Southampton posse. Pattie was the latest in a long line of female singers, following hard on the stiletto heels of Shirley Gaye, Anne Beverley etc. Portsmouth-born, she left school at just 16 in either 1961 or 62 and after playing in a local band was snapped up by the Canham-crew to appear as a member of the Barrie James entourage.

6th October 1962

On the opening weekend of the month the first in a series of "Jive Nights" took place, expanding upon the idea that had first appeared at the Town Hall back in September. However on this occasion, there were some significant changes in the shape of a new promoter, a new venue and a new evening for what became a regular weekly occurrence. "Bridgwater Entertainments Ltd" were responsible for providing a weekly rota at The Blake Hall of Roller Skating on Monday nights, Big Time Bingo on Tuesdays and Thursdays, and a live band on the Saturday evening. Only local bands or groups from the surrounding area played these evenings, suggesting that whilst these concerts were more frequent, the promoters didn't have as much clout that the Graham Alford Agency had. Gigs during this month were Jimmy Treharne and The Pressmen on the 4th, The Mustangs on the 13th October, the proverbial Royston Jones & the Raiders from WSM on the 20th October and The Silver Stars Group on the 27th October.

22nd October 1962
("A new feature - Record Request Spot")
Dean Prince & The Dukes

29th October 1962
Ricky Forde & The Cyclones

5th November 1962
Johnny Carr & The Cadillacs

19th November 1962

MIKE SAGAR & THE CRESTERS *

After yet another period of booking the familiar and not so famous, this lot appeared. Originally from Bramley in Yorkshire, they enjoyed minimal chart action with "Deep Feeling" (No.44 in December 1960) and followed this up with the rather curiously titled "The Brothers Three" in 1961, a release that received the equivalent of the Juke Box Jury hooter amongst the record buying public. The band included one Richard Harding on lead guitar, an individual revered in local circles as a budding Eric Clapton. "He's probably the best undiscovered guitarist in the world, an absolute top class player by any standards, and has been since the 60s. "He plays better than just about anyone you can think of, and was a kind of underground legend in the 60s and 70s. I still remember his version of the Brubeck hit "Take Five" with awe - the Cresters were a total knockout, I have an old tape of them playing some instrumentals which is amongst my most treasured musical possessions." So says a member of Sheffield Forum.co.uk. Apart from releasing an instrumental of the Frankie Laine hit "Jezebel" under his own name in 1961, Harding can currently be heard twanging merrily in a country group called Dillinger.

Also advertised this evening was another "Twist Contest", the 323rd to have appeared in the Town Hall during 1962 alone. "£2 2s for the Best Couple : £1 1s for the next best two"

* The Top Twenty's advertisement erroneously spelled the band's name as "The Crestas" though, ironically, this became the correct spelling circa 1965 after Mike Sagar's departure.

MIKE SAGAR & THE CRESTERS - Deep Feeling (1960)

November's "Jive Concerts" at The Blake Hall were as follows; 3rd - Jimmy Treharne & the Pressmen 10th - The Mustangs 17th - Dave Whitfield & the Rapids 24th - Tony & the Fabulous Tycoons

3rd December 1962

ERKEY GRANT & THE TONETTES

From Manchester, the All Music Guide confirms their obscurity but suggests that they had a "punkish" sound which must have set them apart from a lot of the other bands that were treading the boards in 1962. At some point during a career that refuses to yield any hard facts, they recorded The Coasters song "Girls" but their only release of significance appears to be the excrutiatingly naff "I Can't Get Enough Of You" for Pye Records in 1963, under the name Erkey Grant & The Earwigs. Released with a passable version of another Coasters classic "I'm A Hog For You" on it's flip, it's hard to believe that this track was passed over in favour of an A-side that sounds like The Kinks backing Spike Milligan on lead vocals. Incidentally, note obligatory "indoor-shade-wearing" photo (left), a sure sign of a rock n'roll rebel if ever I saw one.

ERKEY GRANT & THE EARWIGS - I'm A Hog For You (1963)

10th December 1962

BRIAN POOLE & THE TREMELOES

The first band to appear at the Top Twenty with connections to the beat-group boom of 1963 though at this point in their career, the group hadn't really hit their stride. The Tremoloes (as they were originally spelt) were formed in Barking, Essex in 1958 and made their debut at Ilford Palais in 1960. Poole was originally a Buddy Holly imitator complete with horn-rimmed glasses but after joining forces with The Trems they appeared regularly on radio, turning professional in 1961. On 1st January 1962, they famously became the band that Decca Records chose to sign instead of The Beatles primarily becuase they were based in London. Faced with the choice of signing either a bunch of scousers situated 175 miles away from "Decca Central" in the capital city or some good old East End boys, rumour has it that Decca's A&R man Dick Rowe left the final decision to his assistant Mike Smith and the rest, as they say, is history. Hindsight is of course a wonderful thing, but to give Smith some credit, geographical distance was an important factor back in those pre-motorway days whilst it's just possible that the band had given a better performance than the Fab Four who were understandably nervous on the day in question. Brian Poole was quickly established as the group's "leader" (another trend that The Beatles successfully bucked) and after a stint as a backing band for both The Vernon's Girls ("The Locomotion") and, believe it or not, Jimmy Savile (on a not very politically correct cover of Ray Stevens' "Ahab The Arab") they released a handful of unsuccessful singles of their own namely "Twist Little Sister" and "That Ain't Right" in 1962 and "A Very Good Year For Girls" and "Keep On Dancing" released in January and March 1963 respectively. Poole and The Tremeloes consequently appeared at the Town Hall with their career stubbornly refusing to take off.

BRIAN POOLE & THE TREMELOES - Twist Little Sister (1962)

By June however, a change of musical direction resulting in a heavier emphasis on Rhythm & Blues paid handsome dividends as first "Twist And Shout" (No.4) and then "Do You Love Me?" (No.1) stormed the charts. "Twist And Shout" may well have been a cover of a song popularised by the Isley Bros, but it was, in effect, a carbon copy of the version that The Beatles had recorded for their debut album "Please Please Me" 4 months earlier. The irony should be fairly obvious when one considers Decca's decision to choose the Barking boys ahead of the best band in the world.

Despite The Trems decision to beef up their sound, they were never really convincing as a rhythm n'blues based band especially when compared to the more robust groups that appeared during this extremely intense period of British music history. Poole & The Tremeloes however continued to pick up the odd hit single here and there with both Roy Orbison's "Candy Man" and "Someone Someone" reaching the Top 10 in 1964 but after the comparative failure of two good cover versions of songs originally recorded by a new wave of American artists, namely The Strangeloves "I Want Candy" (No.25) and The Rascals "Good Lovin'", Poole eventually left to pursue a solo career in 1966, a move that normally would have meant curtains for his backing group. But whilst Poole's stab at stardom floundered to the extent that he gave up music altogether to become a butcher, the addition of Chip Hawkes (Chesney Hawkes' dad) gave The Tremeloes a new lease of life and in 1967 alone they achieved no less than 3 gold records including the No.1 "Silence Is Golden", a cover of a discarded Four Seasons b-side. The Trems sporadically continued to pepper the Top 10 with hits up to 1970 but then made the unwise career choice of changing their image, denouncing their previous music and dismissing their old fans as "morons". Damage done, the only option remaining was to slip quietly into the cabaret circuit.

BRIAN POOLE & THE TREMELOES - Candy Man/Do You Love Me? (NME Pollwinners Concert) (1964)

December's Blake Hall concerts; 1st - Jimmy Treharne & the Pressmen 15th - The Mustangs & Mike Allard & The Tremors 24th - Tony & The Tycoons 29th - Johnny Rush & the Raiders 31st - The Tornados (no not the "Telstar" mob, this lot were from Blandford Forum)

The Artists 1963

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7th January 1963
The Barron Knights

14th January 1963

TONY BOLTON & THE FEDERALS

Born out of long forgotten band The Beatniks, Bolton & The Feds were another group who recorded for Parlophone Records though they appeared at The Town Hall minus contract as their first single "The Climb" did not appear until January 1964. 3 more Parlophone 45's followed, including a cover version of The Platters "Twilight Time" and their final release, 1965's "A Bucketfull Of Love" but they never threatened to trouble the charts with their particular brand of beat music. As the mid-60's beckoned, The Top Twenty effectively became a nursery for a number of musicians who later found fame and fortune elsewhere, a situation that was no doubt being repeated in venues the length and breadth of the country. Hiding within The Federals line-up was keyboard player Tony Kaye (real name Tony Selvidge.) He was a member of several bands during the 60's, amongst them Johnny Taylor's Star Combo and Jimmy Winston & His Reflections but later became an original member of Yes and appeared on their breakthrough album "The Yes Album" in 1970. Incidentally, Tony Bolton & The Federals were one of those bands incorrectly labelled under the "Comedy/Vocal/Instrumental" umbrella. Unless Bolton augmented his vocal performance with a stand-up routine, I think we can safely say that this piece of info is not strictly accurate.

8th January 1963
Dale Rivers & The Ramrods

Friday Night Jive concerts for January at The Blake Hall were; 5th Teddy Valour & The Valiants - 12th The Raiders with Rod Young - 19th Mike Slain & The Vikings - 26th Tony & His Fabulous Tycoons.

There was also a "Friday Jive" night at The Town Hall on the 11th January featuring "The West of England Jive Group" Nick & The Senators and a "Special Jive Night" on Monday 21st January at The Blake Hall with The Tornados (from Blandford) Altogether a very busy month!

4th February 1963

PETER JAY & THE JAYWALKERS
("They steal the show wherever they go!")

A band that straddled the period between early 60's British pop and the oncoming rush of Merseybeat, Jay & The Jaywalkers played the Town Hall 4 times, though three of those appearances occurred in 1963. Primarily an instrumental band based around both Peter Jay's percussive perspicacity and a raucous brass section, they achieved a No.31 hit in October 1962 with the Joe Meek produced "Can Can 62", a track that became a staple diet of Jaywalkers gigs for some time afterwards. Despite the obvious novelty factor of this record and the slightly ludicrous spectacle of the group performing the routine during their live shows, they were apparently a more than competent combo and toured the UK with The Beatles during the same year as their Top Twenty debut. The driving force behind the Jaywalkers early incarnation was one Peter Miller but he left in 1966 to concentrate on songwriting. During their latter years, they became a quartet, calling themselves, with stunning originality, Peter Jay & The New Jaywalkers and turning their attention to soul music. One significant new recruit during this period was Terry Reid, a "nearly made it" man who holds the dubious distinction of once turning down the opportunity to join Led Zeppelin. Reid joined the band in 1966/67 just prior to their eventual split but despite Jay's retained involvement, their final single, 1967's "The Hand Don't Fit The Glove" was credited to Terry Reid & The Jaywalkers. An impressive support slot on a Rolling Stones UK tour followed but was not enough to save them from extinction.

PETER JAY & THE JAYWALKERS - Caroline (1963)

In the 5th February 1963 edition of the Bridgwater Mercury, the weekly ad for the Top Twenty sensationally mentions "Another New Up and Coming Group - Electric Organ, Sax, Guitars, Drums" The group in question? The terribly obscure The Tartans (see below) Of far more interest was the advertisement that appeared directly above.......

The "Dynamic" Beatles were only 4th on the bill for the 26th February concert but it wasn't long before everyone in the UK knew exactly who they were.

By some strange coincidence, appearing at The Bridgwater Arts Centre on the very evening that this advert appeared was The Alan Civil Horn Trio. What's that you say? Never heard of him? Alan Civil, for all you Non-Beatlephiles out there played the horn solo on Revolver's "For No One" in 1966. Spooky or what?

As a footnote to this advert, The Beatles were almost booked by Alford for The Top Twenty in 1962. Alford, still keeping one eye firmly on the charts, was apparently impressed by The Beatles debut single "Love Me Do" and contacted Brian Epstein with the idea of booking the band for the south west. Epstein was keen for his lads to be represented "down south" but wanted £1000.00 for the privilege - a ridiculous sum of money for a group that had only just started their career and with just one Top 20 single under their belt. Some haggling ensued, with Alford prepared to go to £500.00 but no higher. Epstein would not budge, consequently the booking never took place.

11th February 1963

THE TARTANS

Probably one of the most obscure bands to ever play The Top Twenty, I haven't got the foggiest as to who The Tartans were but regarding their somewhat colloquial name, would suggest that they were not from "round these parts". The only reference that I have found that fits chronologically, if not geographically, is from the web site Irish-Showbands.com. It mentions a band called The Tartans that were in existence during the 1960's but sadly does not provide any further info. A genuine, possibly Celtic, curiosity.

18th February 1963
Johnny Carr & The Cadillacs
("Back from their tour of The Middle East!")

JOHNNY CARR & THE CADILLACS - Remember That Night (1963)

25th February 1963

THE DOWLANDS with The Soundtracks

From Bournemouth, David and Keith Dowland were yet another from the Everly Brothers imitator production line. With a backing group that included Roy Phillips (a Ray Charles look-alike who later joined 60's band The Peddlers) and drummer Chris Warman, the duo were enormously successful locally. In 1962, their Joe Meek-produced debut single, "Little Sue", was issued on Oriole. Later Meek recordings included "Big Big Fella", "Break Ups" and a 1963 arrangement of Johnny Cash's "I Walk The Line", but it was only when Meek began to dip his toes into the Merseybeat sound that the group made chart headway. While "Wishin' And Hopin'" and "Don't Make Me Over' were trumped by both the Merseybeats' and the Swinging Blue Jeans' respective versions, the brothers hastily released a Beatles cover of "All My Loving' (which sounds like Lennon & McCartney on helium) and spent seven weeks in the UK Top 50 in early 1964. (The single was also released in the States on the Tollie label). They appeared on several British package tours but, via Meek's emotional disintegration and long gaps between record releases, the Dowlands decline was inevitable.

February's Blake Hall Roll Call; 2nd Jimmy Treharne & The Pressmen - 9th The Mustangs - 16th Bob Fremton & The K.D.C. - 23rd Teddy Valour & The Valiants.

4th March 1963
The Detours

11th March 1963

THE ORIGINAL CHECKMATES
("A Monday Twistacular!")

This was the ashes of the band known as Emile Ford & The Checkmates, who scored a No.1 hit in 1959 with "What Do You Want To Make Those Eyes At Me For?", a song originally written in 1917. Emile Sweetman was born in Castries, St.Lucia and arrived in the UK during the 1950's seeking work as a sound engineer. Sometime after his arrival Ford formed The Checkmates with two of his half-brothers (George & Dave Sweetman) and won a talent contest sponsored by Pye Records. From the resulting audition, their first single, a Joe Meek-produced cover version of Don Gibson's "Don't Tell Me Your Troubles" was scheduled for release but Pye wisely chose the B-side and it went straight to the top of the charts. Ford & his Checkmates enjoyed a particularly fruitful 1960, securing 3 more Top 40 hits, 2 of which entered the Top 10, but their place in the sun was short-lived and by late 1962 the band had slowly been swallowed up by the new sounds that were emerging. Ford left, initially to concentrate on a solo career but he eventually gave up singing altogether in 1963 to return to his first love, studio engineering. His band continued, albeit in two seperate factions, with his backing musicians forming The Excheckers and Ford's Sweetman siblings becoming The Original Checkmates with the latter continuing to record with Joe Meek for Decca and Parlophone. Whilst with Meek, The Checkmates became just another band that the producer used in an attempt to repeat the success of "Telstar" with a series of releases that bore a striking resemblance to The Tornadoes hit. Checkmate releases included "You've Got To Have A Gimmick Today" (March 1963) described by one journalist as "breathtakingly appalling" and "an exercise in complete and utter bilge", "Union Pacific" (June 1963) a Shadows/Tornadoes hybrid and an entire album's worth of material released on the Pye label during the same year. The Checkmates were used frequently by Meek during the year of their Top Twenty appearance as backing musicians, particularly when his "other" band The Outlaws were unavailable and they apparently worked extensively with Michael Cox both on record and during the singer's hugely successful tour of Scandinavia.

THE ORIGINAL CHECKMATES - Union Pacific (1963)

19th March 1963

TWIST TO "DISCS"

Two youngsters twisted their way to a guest appearance on the TWW pop show "Discs A Go-Go" at Saturday's twist competition held at the Odeon Theatre, Bridgwater and organised by the manager Mr.John Tucker. The winners, Joyce Baker and Michael Wenmouth were among finalists who had been selected from six previous contests. They were chosen by a Bridgwater Mercury reporter, Michael Hughes who acted as judge. All the competitors were members of the Odeon Boys and Girls Club, which meets on Saturday mornings. Joyce and Michael will have tea with the compere of "Discs A Go-Go" Kent Walton and will be guests on the programme.

25th March 1963

NICK TROY & THE TROJANS

This wonderfully-named band were yet another from the Southampton area. They were formed by drummer Alan House with 4 of the 5 members having attended Hardly County Secondary School in Fawley. After originally being called both The Blueteens & The Phantoms, lead singer Graham Gay came up with their ludicrous alter ego and the name stuck. Looking at their short but interesting biography, they appear to have been a band who had a knack of employing people with the most unlikely names including a bass guitarist called Godfrey Lightning and a female vocalist called Esme Duval. Having played the local area as one of Len Canham's artists, they finished second on a local TV talent show called "Home Grown" in 1962, and during the following year hit the road, taking in Bridgwater en route.

By this time they were being backed by the glamorous “Twistettes”, a female vocal/dancing duo, one of which was Esme White. When the other Twistette eventually decided that life travelling around in the back of a Commer Van wasn’t quite where it was at, Esme changed her name and became the sole female vocalist. In 1964 the band finally turned professional and after the customary stint in Hamburg, they were offered a three-month contract playing American-forces bases in Frankfurt. They were a show band primarily, playing rock n’roll but also incorporating comedy and show tunes into their repertoire. Upon returning from Germany the band moved to London, Duval left to get married and the remaining band members made several attempts to find fame and fortune, recording a number of demo discs and completing an audition for EMI. But nothing came of it and the band eventually split up in 1968. The lure of rock n'roll is a strong one however, and the five original members of the band re-formed in 2004.

April's Poptastic Blake Hall line-up was as follows; 2nd Rodd Young & The Raiders - 9th Mike Slain & The Vikings - 16th Jimmy Treharne & The Pressmen - 23rd The Mustangs - 30th The Avengers with Clive Shane & Rix.

8th April 1963

JERRY WILLIAMS & THE VIOLENTS

("First Time In England - An Exciting, Sensational and Dynamic Pop Group From Sweden!")

Back in the pre-Abba days when Eurovision meant Elvis Presley singing in German it was somewhat rare to find a band treading the boards that were from any other European country apart from the UK but Williams & his rather punkish-sounding Violents were from the same land that spawned Agnetha, Benny, Bjorn and .....that other bird. There are several references to this band on the internet but there does not appear to be a definitive history for a singer who has not only been performing for over 40 years but who appears to be regarded as a pioneer of Swedish popular music, influencing countless musicians along the way (That's Swedish musicians incidentally.) According to one less-than-informative biography, Williams was christened Erik Sven Fernström in 1942 in Solna, Stockholm and was born on his parents sofa - an insightful piece of info I'm sure you will agree. Williams started his career in 1957 and joined forces with the instrumental band The Violents sometime between 1960 & 1962 after the group had decided to augment their line-up with a vocalist. Sometimes known as "Mr.Dynamite" (a nickname unashamedly stolen from James Brown) Williams outgrew his original employers as his star rose with the The Violents eventually becoming mere backing musicians to the enigmatic vocalist (it says here). "When Jerry Williams gets going you can compare it to a box of dynamite going off. He jumps, struts, twists and exhausts himself completely. His hair flies, sweat pours. Nobody can stand still when he goes for it. Mods and rockers, everybody likes Jerry" says Stora from Sweden. Thank you Stora! We do know that Williams & The Violents played The Star Club in Germany during the same period as the Fab Four and that Williams enjoyed 5 Top 10 hits in his native country during the 60's but had to wait until 1969 before obtaining his first chart topper. He appears to have had an extensive discography and apart from being a "rock n'roller" had his own "Jerry Williams Talk Show" on Swedish TV in 1968. He also appeared in the films “G - som i gemenskap” and “Lilla Jönssonligan och Cornflakeskuppen” (Which appears to be an entire film about a breakfast cereal). One Swedish fan sums up the singer by offering the following crucial information; " When the Beatles hit Sweden in 1964 he refused to compromise. I gave no hits but he still could make his living playing. In 1965 Bildjournalen, the teenage paper wrote an biography comparing him to other Swedish rock kings. They had all been forced to go back to their normal jobs." So that clears that up then. A trawl through a number of YouTube clips reveals a competent singer and band but with an unintentionally hilarious line in over the top terpsichory (see below).

JERRY WILLIAMS & THE VIOLENTS - Twistin Patricia (Hello, Goodbye) (1962)

JERRY WILLIAMS & THE VIOLENTS - Number One (1963)

22nd April 1963

GARY LANDIS & THE REBELS

Yet another selection of complete unknowns, the only clue as to their identity coming from the Bridgwater Mercury's ad which states that they were a "A Really Great Beat Group". That would be a really great beat group that no-one has heard of then. Perhaps you simply had to be there.

23rd April 1963

"THEY TWISTED TO SUCCESS"

When Bridgwater teenagers Joyce Baker & Michael Wenmouth entered a twist competition at the Bridgwater Odeon, they did not know that it would lead to a V.I.P. visit to a television studio. Joyce of 137 Rhode Lane and Michael of 4 Coronation Road, won the competition and as a special prize were invited to the TWW Television Centre, Bath Road, Bristol, to appear in a special recording of TWW's Top Ten programme "Discs A Go-Go". For hours they twisted and jived during the rehearsals under the blazing studio lights and then "got with it" as the programme was recorded. Viewers saw the youngsters on the screen on Easter Monday. Highlight of the visit came at the end of the programme when Joyce and Michael were introduced to the disc jockey and compere of the programme, Kent Walton. A breezy chat with Kent and smiles as they posed for pictures on the studio set brought a thrilling end to the day for them.

29th April 1963
The Dowland Bros with the Soundtracks

There does not appear to have been any "Jive Nights" at the Blake Hall from April onwards, either that or they simply stopped advertising them. However, there was a Grand "Modern Dance" at the Town Hall on the 13th April with - Direct from London - The Dan Reilly Five ("featuring the Swinging Electric Organ with singing star Rita Lee") Like, Dullsville.

6th May 1963
Peter Jay & The Jaywalkers

13th May 1963

JOHNNY MILTON & THE CONDORS
(From the film "Money Spins"*)

Milton and his band were from Essex and, like Jerry Williams' Violents to a certain extent, were another group hijacked by their lead vocalist. The Condors were drummer Clive Graham's band but as Milton had the best voice he became their front man. They recorded the terribly obscure "Charleston Cocktail" for the Oriole label as "The Johnny Milton Band" in 1961 but had to wait another three years before their next release. Manager Geoff Stephens was a successful song-writer having penned both The Applejacks "Tell Me When" and Dave Berry's "The Crying Game". It's a pity then that he couldn't find a hit for his own group as the sum total of their efforts were just 2 singles, "A Girl Named Sue" (Decca) and "Cry Baby" (Fontana) both in 1964, the latter of which may or may not have been a cover version of the excellent Garnet Mimms original. By 1965 the band had fractured with some of the musicians continuing under the name The Symbols.

* This film is so obscure that even the All Movie Guide has never heard of it.

JOHNNY MILTON & THE CONDORS - A Girl Named Sue (1964)

20th May 1963
Johnny Carr & The Cadillacs

27th May 1963
The Barron Knights

Top Twenty closed for the months June, July and August 1963.

The winds of change were blowing through British popular music. By the time the Top Twenty had reconvened from it's customary 3 month break, it was obvious that the music scene was no longer the sole property of Cliff Richard, Frank Ifield and a plethora of American singers called Bobby. Merseybeat had evolved from it's skiffle origins and "Beat Groups" began taking over the British singles charts. With the Brian Epstein NEMS empire growing almost daily, The Beatles were at the forefront of this revolution. "Please Please Me" hit the music charts in February and in April 1963 Gerry & The Pacemakers had taken "How Do You Do It" to No.1. With television programmes like "Thank Your Lucky Stars" showcasing new bands to millions of TV viewers on a weekly basis, suddenly the emphasis was on Britain and not what was happening across the Atlantic. At this point The Top Twenty was well established and had been turning over a fairly healthy profit. It might have made sense to have stuck to this winning formula but from September onwards there was a noticeable shift away from the plethora of pretend-Presley's that had graced the Town Hall stage previously. A few members of the old guard were retained but even though the Peter Jay's, Johnny Carr's and Bobby Angelo's of this world could still command regular spots, artists like Danny Davis and Barrie James were now old hat. The Top Twenty kept moving with the times and a selection of new bands offering an exciting and vibrant alternative began to appear.

2nd September 1963

SOUNDS INCORPORATED

From Dartford, Kent and formed in 1961, Sounds Incorporated were unlike a lot of the other instrumental bands that were doing the rounds back in those Hank B Marvin days as their line-up did not comprise the conventional guitar/bass/drums instrumentation but centred around three saxophonists (Alan "Boots" Holmes, "Major" Griff West and Barrie Cameron.) After building a solid reputation in the Woolwich area they got their big break in August 1961 when Gene Vincent's Blue Caps were prevented from entering the country due to union restrictions and Sounds Incorporated were used as his "scratch" band instead. This not only led to securing a contract with Parlophone Records but also gave them a reputation as a more than dependable backing band that resulted in them being used by a number of travelling American stars such as Little Richard, Jerry Lee Lewis, Brenda Lee & Sam Cooke. However, despite their exemplary skills as musicians, the transition from concert stage to chart action proved difficult. Their one and only record for Parlophone - "Mogambo" - failed to make any waves and after moving to Decca, subsequent releases "Sounds Like Locomotion" (1962) "Stop" and "Order Of The Keys" (1963), also stubbornly refused to shift any significant units despite the latter being produced by Joe Meek, who was seemingly responsible for 98% of ALL early 60's British output. It wasn't until after their Town Hall appearance that things started to take off. A visit to Hamburg and The Star Club saw them rubbing shoulders with those lovable moptops and after being signed to the Epstein conglomerate they not only enjoyed a couple of minor hits on their third label Columbia but obtained a regular slot as Cilla Black's backing band. In 1964, their rousing, over the top and hugely enjoyable rendition of the "William Tell Overture" may have been ignored in the UK but went to No.1 in Australia but ultimately their biggest achievement was opening for The Beatles in front of approximately 55,000 fans at the infamous Shea Stadium concert on the 15th August 1965. Despite being seriously hampered by the lack of a vocalist within their ranks, during a period when bands of their ilk were no longer as prolific or as popular as they had been, they easily held the position as the top instrumental band in the UK during the "beat" years. They later changed their name to "Sounds Inc" whilst other feathers to their bow are that the aforementioned horn section made a guest appearance on Sgt.Pepper's "Good Morning Good Morning" whilst drummer Tony Newman later joined The Jeff Beck Group and subsequently played with David Bowie on "Diamond Dogs" in 1974.

SOUNDS INCORPORATED - Mogambo (1962)

SOUNDS INCORPORATED - Rinky Dink/William Tell Overture (1964)

The advertisement reveals that Sounds Incorporated were a last-minute replacement for another band that had unfortunately disbanded prior to their Top Twenty engagement. A shame, as the cancellation spared us the opportunity to see Freddie "He Ate My Hamster" Starr appearing with his band The Midnighters, just prior to his conversion to stand-up comedian and complete lunatic.

5th September 1963

The Beatles re-appear at The Gaumont Theatre, but this time as headliners just 6 and a half months after their previous engagement. Apart from the rumour that the band appeared at the Royal Clarence Hotel (see November 1963) their two stage performances in Taunton are the closest they got to appearing in this town. (Apart from a brief appearance in a Fish N'Chip Shop in Roman Road, Taunton on the 15th September 1967 when filming "Magical Mystery Tour")

A sign of the changing times..... Above the Beatle advert in the Mercury is another Gaumont billing, a F W Entertainments Ltd production of "Snow White & The Seven Dwarfs" with 50's singer Ruby Murray in the lead role.

9th September 1963

THE FOURMOST

A further indication of Merseybeat's growing popularity and that Graham Alford had his finger firmly on the pulse. En route to conquering the world, Merseybeat hits Bridgwater!

The Fourmost were formed by Brian O'Hara and Billy Fury's pal Billy Hatton in 1958 first as "The Blue Jays" and then "The Four Jays" and were, of course, just a small part of the huge explosion of music that occurred on Merseyside during the early 60's.

The reason for this musical revolution is hard to pinpoint exactly but one initial and significant development was that skiffle went electric. Despite the record moguls in London declaring that, after Lonnie Donegan, vocalists were the future of popular music*, in a number of UK cities skiffle musicians continued to be influenced by the same musical styles that had captured their imagination in the first place - only this time they had replaced their tea-chest's and cardboard boxes with amplified instruments whilst maintaining that classic 4-piece "band" line-up. Geographically and culturally removed from "The Big Smoke", many cities began developing their own sound based on rhythm n'blues and rock n'roll though in Merseyside's case there were a number of other important factors that resulted in something quite unique. Firstly, Liverpudlians were fairly poor by comparison with a high unemployment rate which meant that many teenagers turned to music as a way of escaping the doldrums of every day life. By 1961 there were 350 groups working in the Merseyside area alone. Hardly surprising that under these circumstances, a Liverpool scene should emerge. Secondly it was a more cosmopolitan city than most with a mix of races and a healthy exchange of cultures, a situation that was accentuated by it's close proximity to the River Mersey. Finally, the fact that Liverpool was a sea port was of paramount importance as sailors passing back and forth on a regular basis from the USA introduced into this country a selection of vinyl records from across the Atlantic that were simply not available anywhere else in the UK. These records became the staple diet of scores of young scousers playing music in the city and explains Merseybeat's affinity with Black American soul and R&B. There may well be an element of truth to the suggestion that Liverpool simply happened to be in the right place at the right time, but it was certainly more complicated than that.

The Four Jays made their debut at The Cavern Club on March 1st 1961, 3 weeks before The Beatles and after a couple of personnel changes and a new name, The Four Most's joined the Brian Epstein revolution and almost instantly became one of a number of his bands that benefitted from sharing a management contract with The Fab Four. They were given a couple of Lennon & McCartney "cast-offs" for their first two single releases with their debut, "Hello Little Girl" supposedly written by John Lennon whilst sitting on the toilet. This song was part of The Beatles early repertoire and was also performed during their famously unsuccessful audition for Decca Records (see story below). Given initially to Gerry & The Pacemakers, The Fourmost's version (Epstein had shortened their name upon signing them to his roster) reached No.9 in the charts and is ultimately superior to the Fabs rather nervy and unpolished effort. The follow-up, Lennon's "I'm In Love", established the Fourmost still further but despite being a better tune than it's predecessor, only reached No.17 in December 1963. Further opportunities to record Lennon/McCartney material were denied and, hardly surprisingly, the hits dried up but not before they had reclaimed their Top 10 status with their third 45, "A Little Lovin'" in April 1964. They were a band who never strayed too far from the "pop" market and whose strength was their three-part harmony, but after achieving a 100% record of successive Top 20 hits The Fourmost could not maintain this winning run and soon became the victim of diminishing returns. 1964's "How Can I Tell Her" was a "nearly" hit as were two 1965 cover versions. The first was a pretty decent stab at The Four Tops "Baby I Need Your Loving" whilst the second was an unforgivably naff take on The Coasters "Girls Girls Girls" that included an excruciating Bugs Bunny vocal to accentuate the comedic aspect of the song. Despite the erratic nature of these releases, the singles at least suggested that the band's shelf life might be extended for a little longer but they never troubled the Top 40 again. 1965 saw them enjoy a brief appearance in the film "Ferry Cross The Mersey" plus the release of their one and only album, the fairly obviously yet cunningly titled "First And Fourmost". It featured a ragbag of cover versions and one or two further efforts at "tickling the funny bone" that, whilst pointing the way ahead to a career beyond beat music, failed miserably. 1966 saw the death of original member Mike Millward from luekaemia and when the release of another Beatle tune, McCartney's gorgeous "Here There & Everywhere", failed to make an impression, their days as a viable pop group were well & truly numbered. At this point in musical history the times were indeed a changin' with many bands from the early 60's keen to re-invent themselves as faux flower children. But it rained heavily throughout The Fourmost's summer of love as they spent a small part of it attempting to put George Formby back in the charts by releasing his "Auntie Maggie's Remedy" as a single. Complete with spoons and toy whistles, it, unsurprisingly, failed to capture the spirit of the times and not long after their penultimate 45, 1968's "Rosetta" (which featured a certain Mr.McCartney on piano) the band, now called Format, ceased recording altogether and headed directly for the comparative comfort of the cabaret circuit.

"Hello Little Girl" was released in the very same month that the band appeared at The Town Hall. At this point it becomes apparent that the idea behind the Top Twenty's new policy of booking bands was to capture these artists as they were setting out on their debut tour of the UK and that certainly seems to be the case here.

*Dick Rowe, the A&R man at Decca Records, turned down The Beatles after their audition with the company. Rowe famously suggested to the group's manager : "Groups with guitars are on their way out Mr.Epstein. You really should stick to selling records in Liverpool"

THE FOURMOST - Hello Little Girl (1963)

THE FOURMOST - A Little Loving (live at the tailors) (1964)

16th September 1963
Colin & Bruce with The Detours
("with Fabulous New Drapes & Lighting Effects!")

23rd September 1963
Johnny Milton & The Condors

For the first time with this advert, The Top Twenty also announced forthcoming attractions, one of which was a return visit by The Barron Knights. The Knights DID return to The Town Hall but not until May 1964 which either suggests that bookings were being made well in advance or that this proposed concert never took place.

30th September 1963
The Fabulous Tuxedoes with Bobby Angelo & Susan Terry

21st October 1963

WAYNE FONTANA & THE MINDBENDERS

The Northern music scene in 1963 was in such rude health that Manchester boasted almost as many bands as their near-neighbours Liverpool. This sometimes made it hard to distinguish as to which of these two cities some groups actually came from. Wayne Fontana & The Mindbenders were Mancunian and made their Town Hall debut during the year of the band’s birth. Glyn Geoffrey Ellis was an ex-apprentice telephone engineer who re-named himself after Elvis Presley’s drummer D J Fontana (and not the record label as has been suggested.) He formed The Jets, a semi-professional band that were a regular group on the local Manchester circuit between 1961/62. Legend has it that when, ironically enough, Fontana Records expressed an interest in signing The Jets an audition was arranged at the Oasis club in the city centre. Unfortunately, only Fontana and bassist Bob Lang turned up so two other local musicians who just happened to be drinking in the venue's coffee bar were cajoled into making up the numbers. Of the two, 18 year-old guitarist Eric Stewart was already an old hand having played with both Gerry Lee & The Stagger Lees and another band called The Jets, this one fronted by the singer Johnny Peters. Stewart was still with Peters at the time but with Fontana (the label) offering Fontana (the singer) a contract despite an indifferent Oasis performance, Stewart quickly jumped ship whilst handing in his notice at the local drawing office. Renaming themselves after Dirk Bogart’s just released movie The Mindbenders, (a film about sensory deprivation experiments), the quartet's first release was a cover of Fats Domino’s “Hello Josephine” but it barely made the Top 50, peaking at number 46 in June 1963. Two further singles, "For You, For You" and a cover of The Diamonds "Little Darling'" were even less successful, but the label stuck with the band and after their version of Ben E. King's "Stop Look and Listen" made number 37 in May 1964, their breakthrough arrived in November of that year when Curtis Mayfield's "Um Um Um Um Um", originally recorded by the obscure American soul singer Major Lance, reached No.5. The band enjoyed an even bigger hit in February 1965 when Clint Ballard's "The Game of Love," reached No.2 in Britain and achieved the rare distinction of going to No.1 in the American Billboard Hot 100 but just as world domination beckoned, disaster struck. A tour of the States was planned to capitalise on their Billboard success but despite completing a promotional visit, the band were refused visas by officials concerned about the flood of British groups working in American venues whilst denying their USA counterparts the opportunity to play instead. Immigration officials demanded statements from both Billboard and Cashbox to prove that the band's Stateside success justified their presence on American soil. Somehow the band survived this fiasco, but their situation was not helped when they turned down Hank Ballard Jnr's "I'm Alive" as a follow-up to "Game Of Love" allowing The Hollies to take the song to the No.1 spot. The writing was on the wall - at least for The Mindbenders - as Wayne Fontana had long harboured ambitions to make it as a solo singer. The group continued to achieve chart success, albeit on a minor scale, but with Fontana’s management company also convinced that Wayne would be better served without his band, the decision was made for him to leave. Unfortunately, no-one told the group of these plans and in October 1965, Fontana walked off stage midway through a live show leaving Stewart and the boys to carry on without him. The group continued as a three-piece, which was apparently what the label and management company had been planning all along but the move was only marginally successful and was soured by band and singer continuously slagging each other off within the pages of the music press. Fontana's early solo singles continued with the soulful direction that had yielded positive results with Tbe Mindbenders. His debut, a version of Garnet Mimms "It Was Easier To Hurt Her" was surprisingly good whilst the equally worthy follow-up, Jackie Edwards "Come On Home" reached No.16. But Fontana's biggest hit was ironically written by future Mindbender Graham Gouldman, his somewhat syrupy “Pamela, Pamela” reaching No.11 in December of 1966. But his career struggled to maintain momentum and from 1967 onwards he was filed under "missing persons" chart-wise. The Mindbenders, now with Eric Stewart at the helm, initially threatened to upstage their ex-vocalist when their first release, the superior “Groovy Kind Of Love” reached No.2 in December 1965. But despite several more single releases, The Mindbenders eventually disbanded in 1969.

After the end of the swinging 60’s, the fortunes of the two main protagonists of this band could not have been any more different. Eric Stewart became an original member of 10cc during the early 70’s and co-wrote some of their biggest hits including "I'm Mandy Fly Me" and the No.1’s “I’m Not In Love” and “Dreadlock Holiday”. He also spent a period during the 1980’s as Paul McCartney’s co-songwriter. As for Fontana, like a lot of singers with the inability to maintain a steady level of artistic output, he was well on the way to cabaret and those endless "Sounds of The 60's" package tours. In fact the only headline that Fontana has achieved since 1966 was a particularly embarrassing one.

“In 2005, he fought off bankruptcy, but was arrested after police were called by bailiffs who went to his home in Glossop,Derbyshire. He poured petrol on to the bonnet of a car, and set it alight with a bailiff inside. Fontana was remanded in custody on 25th May 2007 in regard to the charge. He appeared at Derby Crown Court dressed as the lady of justice, with a sword, scales, crown, cape and dark glasses, claiming "justice is blind". On 10 November 2007, he was sentenced to 11 months for setting fire to the car but was released.

From The All Music Guide

From a Bridgwater perspective, the band continued to re-appear regularly at The Top Twenty regardless of their current status, one of the very few "chart" acts to do so. They made 5 appearances in total, 4 times with Wayne Fontana and once without him. After their initial performance they came back in June 1964 then made their 3rd appearance on the 2nd November 1964 just 2 months after the release of their first Top 5 hit. "The Game Of Love” was issued during the same month as their 4th appearance in January 1965 whilst The Mindbenders solitary gig without Wayne occurred just 2 months after the release of “Groovy Kind Of Love”.

Fontana also made a personal appearance at Taylor's Record shop on the day of this concert.

WAYNE FONTANA & THE MINDBENDERS - Hello Josephine (1963)

4th November 1963

TANIA DAY with The ROCKIN REBELS

Another Town Hall artist whose history remains a guarded secret amongst all and sundry apart from Ms Day and, one would imagine, various members of The Rockin Rebels. The Mercury billing stated, a little too excitedly, "Don't miss the blond bombshell!" Well at least we know the colour of her hair!

11th November 1963

JOHNNY BURNETTE

Apart from Jerry Williams (who doesn’t really count) Burnette is the only non-UK artist to have played The Top Twenty and is most certainly the only singer to have appeared under it's banner that hailed from the US of A. Probably most well-known for 2 sizable “teen” hits released in 1960, he was also a bona-fide rockabilly artist whose 25 recordings for the Coral label in 1956 with “The Rock N’Roll Trio” are revered amongst musicians and fans alike as some of the most compelling and powerful slabs of rock n’roll ever committed to vinyl . On a more sombre note, at the time of making his Top Twenty appearance he had less than one year to live.

Johnny was born in Memphis, Tennessee and along with brother Dorsey grew up in a public housing project in the Lauderdale Courts area, which, from 1948 until 1954, was also the home of Elvis Presley. As kids both he and Dorsey were keen amateur boxers and went on to become Golden Gloves Champions. After leaving high school, Johnny tried his hand at becoming a professional fighter, but after one bout in which his nose was broken he decided to quit. He and Dorsey worked on the barges that sailed down the Mississippi River, and with both showing a keen interest in music, they would work during the day and play the local bars at night with a number of like-minded musicians that included another former Golden Gloves champion, guitarist Paul Burlison. In 1952, the Burnette brothers & Burlison formed a group called The Rhythm Rangers. Having already been turned down by Sam Phillips at Sun Records due to their musical similarities with Elvis, Scotty & Bill, in 1956 a Presley appearance on the "Tommy & Jimmy Dorsey TV show" convinced them to move to New York. The trio got an audition with the Ted Mack Original Amateur Hour, an “Opportunity Knocks” type program which was broadcast on both radio and TV. They won the competition three times in a row, which gained them a place in the finals and a recording contract with Coral Records. It was at this point that they officially became known as "The Rock & Roll Trio." and it was during Burnette’s short stay with Coral that he cemented his reputation by recording the tracks that would prove to be his legacy. “There’ve been wilder, one-off examples of rockabilly but, viewed as a whole, the 25 Coral tracks remain unrivalled for unsubtle power and raw intensity” said one observer.

JOHNNY BURNETTE & THE ROCK N'ROLL TRIO - The Train Kept A Rollin' (1956)

Promotional appearances were arranged for Dick Clark's American Bandstand, Steve Allen's Tonight Show and Perry Como's Kraft Music Hall, together with a summer tour with Carl Perkins and Gene Vincent. On Sept 9th 1956, they appeared as finalists in the Ted Mack Original Amateur Hour at Madison Square Garden but were narrowly beaten for the coveted prize. Coincidentally on the same evening, Elvis made his debut Ed Sullivan appearance on CBS.

JOHNNY BURNETTE & THE ROCK N'ROLL TRIO - Hound Dog (live on the Ted Mack Amateur Hour) (1956)

Despite all of this frenetic activity, the three singles issued by the band on Coral failed to make the national charts. One of the reasons for this failure is that the music was far too raw for the general public to digest and consequently lacked commercial appeal. In fact prior to his chart success in 1960 with Liberty Records and despite regular appearances on TV, Burnette failed to have any significant hits during the late 1950's. After an argument over billing, brother Dorsey left the group and was replaced by Johnny Black, the brother of Elvis’ bassist Bill Black, but with the group still failing to hit the big time, the trio officially disbanded in Autumn 1957. Johnny decided to try his luck in California. He and a friend, Joe Campbell, hitched down to the West Coast and after meeting up with brother Dorsey, a brief but short-lived attempt at re-uniting the The Rock N'Roll Trio ended when Paul Burlison returned home to concentrate on his electrical business. The trip however was not entirely unsuccessful as The Burnettes' brashness got them their first major music business coup. On arriving in LA, Joe Campbell bought a copy of “A Map To The Stars”, a pamphlet which showed locations of the homes of the rich and famous. In an effort to peddle some songs to the teen idol Ricky Nelson, the boys sat on the steps of the star’s house until he turned up. Their persistence paid off as Ricky was sufficiently impressed with their material to record a number of their songs including "It’s Late", "Waitin’ In School" and "Just A Little Too Much" amongst others. Despite Johnny & Dorsey securing a record contract with Imperial on the strength of their Nelson connection, Johnny was unable to capitalise on their songwriting success and spent the next 2 years still searching for the big breakthrough. In 1958, Johnny released 3 singles as a solo artist with Freedom Records, which was an off-shoot of Liberty. In mid-1959, after Freedom was shut down, Johnny moved to the main label under the direction of producer Tommy "Snuff" Garrett. With the bigger company carrying more promotional clout than Freedom, Johnny’s singles were advertised and distributed to a wider audience and even though his first two releases only sold well regionally, his third single, "Dreamin’" (May 1960) reached No.11 on the Billboard Hot 100 and No.5 in Britain. By comparison to the raw recordings from 1956, "Dreamin’", complete with orchestral backing, was firmly aimed at the teen market but it was his next record that made Burnette a star. "You're Sixteen", released in October 1960, reached No.8 on the Hot 100 and No.3 in Britain and earned him a gold record. After trying to capitalise on his success Burnette's career was curtailed when firstly a ruptured appendix and then exhaustion caused by attempting to return from the illness too soon meant a lack of promotion which consequently affected the chart positions of each subsequent Liberty release. After finally recovering, Johnny returned to the road with a triumphant tour of the American North, culminating in a season at the Brooklyn Paramount Theatre, after which he undertook a highly successful tour of Australia with Connie Francis. Further singles for Liberty were issued but only the firmly patriotic "God, Country and My Baby" charted, reaching #18 on the Hot 100 and this was to be Johnny Burnette’s last major hit. In 1962, Johnny toured Britain for the first time with Gary U.S.Bonds and Gene McDaniels, and appeared on the NME Poll Winners’ Concert and several TV programs. By the time he had reached Bridgwater, Burnette had left Liberty and continued to jump from label to label. He recorded for Chancellor Records, a company that had had success with teen idols like Fabian and Frankie Avalon, briefly joined forces with Dorsey on Reprise and then signed a one year contract with Capitol in the summer of 1963. "It Isn’t There" was issued on August 19th 1963 as his first single for the label. When his Capitol contract ran out, Johnny decided to take charge of his own affairs forming his own Sahara Records (later re-named Magic Lamp). But just 6 months after his Town Hall appearance tragedy struck. After dark on August 14th 1964, Johnny’s tiny unlit fishing boat was hit by an unaware cabin cruiser on Clearlake, California. The impact threw him off the boat and sadly, Johnny drowned.

JOHNNY BURNETTE - It Isn't There (1963)

THE FOUR SPECS

15th November 1963

A CRUSH ON THE BEATLES!

Rush hour traffic was delayed in the centre of Bridgwater on Friday evening (15th) when a rumour spread that The Beatles, a Merseyside act consisting of four young men*, were at The Royal Clarence Hotel. Hundreds of youngsters, the vast majority of them girls, rushed to the area and it took the police, led by an inspector, three hours to get the streets and pavements completely clear. One harrassed constable told a group of Bridgwater Grammar School girls, who were screaming up at one of the hotel windows, "There are no Beatles here and there are not going to be any" (* Talk about understatement!!!!)

25th November 1963

THE LONELY ONES with Gene Anthony & Johnny Keepings

This band heralded the return of the Southampton "Avenue Artists" set-up that had served The Top Twenty so well previously. Info regarding "The Lonely Ones" is scarce and is currently limited to the band's line-up which consisted of Keeping & Anthony on vocals, Jim Sachs (bass) Tony Goode (guitar) Joey Bromley (bass) and Chris Warman (drums). It would appear that there were two distinct sides to the group's repertoire with Anthony responsible for the ballads whilst Keeping was reserved for the "heavier stuff". It is hardly surprising therefore that the band eventually split down the middle with Keeping, Sachs & Good fronting "The Soul Agents", a group whose name not only betrayed their musical leanings but who also backed Rod Stewart at some point during their career.

2nd December 1963

SHANE FENTON & THE FENTONES

If Johnny Burnette's career ended in tragedy (see above) then Shane Fenton & The Fentones were a band born out of it. From Mansfield, Johnny Theakstone & The Tremoloes were formed in 1961, and after sending an audition tape to the BBC's Saturday Club, lead singer Theakstone decided on a spot of re-invention. Depending on which story you believe, Theakstone chose "Shane" from the film of the same name or from Albert Shane who had recently co-written a Gene Vincent single, and "Fenton" from either a Mansfield garage or a local printing firm. The newly named band duly posted their tape to the Beeb and anxiously waited for a reply. Sadly within days of receiving the corporation's thumb's up, Theakstone was taken ill and tragically died as a consequence of the rheumatic fever that he had suffered as a kid. Unsurprisingly, the band decided to break up, but Theakstone's mother asked them to continue in memory of her deceased son. Bernard Jewry was originally from Muswell Hill but had moved to Mansfield at the age of two, appearing in panto when he was just 4 years old. At the tender age of 17, Jewry took part in an amateur showcase held at the Mansfield Palais and it was during this performance that he befriended Theakstone, eventually taking on the "lucrative" job of becoming the Fentones roadie. Jewry occassionally sang with the band on an ad hoc basis, consequently after Theakstone's untimely death he was given the unenviable task of stepping into the singer's shoes by becoming the "new" Shane Fenton. The band breezed through the BBC's audition and under the management of Tommy Sanderson had, within a matter of months, secured a Parlophone recording contract with George Martin as their producer. After the first choice for their debut single, the novelty song "Five Feet Two, Eyes Of Blue" was jettisoned in favour of a Jerry Lordan composition, the rather jaunty "I'm A Moody Guy" reached No.21 in September 1961. There seems little doubt that Shane & The Fentones were Cliff Richard & The Shadows clones with Jewry's high-pitched voice occupying similar territory to Richard's wispy vocal style and in early 1962 the band joined forces with Billy Fury and The Tornadoes on a Larry Parnes package tour but subsequent single releases, including an instrumental by The Fentones, only reached the lower regions of the singles chart. Included amongst these was Fenton's 3rd single release, "It's All Over Now", a song originating from 1920 which reached the heady heights of No.29, but hiding away on it's B-side was an absolute gem, the self-penned "Rave On" inspired "Why Little Girl" which, had it been promoted as the new single, could have provided the band with their big breakthrough. June 1962 finally saw a return to the Top 20 with a cover of "Cindy's Birthday", originally recorded by American TV teen star Johnny Crawford but it was to be the band's last hit and despite appearing in the Billy Fury showcase movie "Play It Cool" by early 1963 Fenton was being touted as a solo artist. The Fentones continued to back Shane on the road, but had been dispensed with as a recording band which at this point boasted the talents of future Hollies drummer Bobby Elliott. It was during this same year that Fenton chose to remain loyal to manager Sanderson by turning down the opportunity to sign for Brian Epstein which in turn lost him the chance to record Lennon/McCartney's "Do You Want To Know A Secret?" subsequently given to Billy J Kramer. Apart from showing a lack of good judgement, their reluctance to update their sound proved costly. The Fentones parted company with Shane altogether in 1964 and apart from a brief spell as a duo with his later wife Iris Caldwell (who was incidentally Rory Storm's sister), Jewry joined forces with ex-boss Sanderson and briefly enjoyed some success as a manager with both The Hollies & Lulu amongst his clientele. But Jewry's story doesn't end there. After doing the cabaret circuit to death for several years, in the early 70's he joined forces with writer/producer Peter Shelley and re-invented himself as the black-leather-glove-wearing glam rock star Alvin "My Coo-Ca-Choo" Stardust. Alvin's new image was not exactly original, being a well-worn mixture of both 50's rocker Gene Vincent and 60's vocalist Dave Berry with added fairy dust, but it worked and after several years in the wilderness it re-established Jewry as a bona-fide pop star once again with alter-ego Stardust chalking up no less than 7 Top 10 hits between 1973 and 1984. "He comes on lean and glistening, wrapped in a tight skin of reptilian black leather. He is a great panther pacing the stage with graceful majesty..." Disc Magazine 1974. That's quite enough of that thank you!

SHANE FENTON - A Fool's Paradise (1963)

16th December 1963

THE SWINGING BLUE JEANS

If the Fourmost were part of the 2nd wave of Merseybeat artists to have obtained success in the UK, then The Swinging Blue Jeans were at the point of it's creation having been formed out of two skiffle groups that finished first and second respectively in a talent contest held at the Liverpool Empire in May 1958. Originally called The Bluegenes, they held residencies at a number of Liverpool venues including The Cavern Club and were top of the bill when The Beatles made their debut there on the 21st February 1961 as part of the group's "Tuesday Guest Night" slot. The band were a regular attraction in the Liverpool area but initially appear to have been out on a limb musically in comparison to most of the other Merseyside bands that were peddling their wares during the early 60's. Suggestions were that their sound was vaguely "jazzy" during their formative years, but despite being at the vanguard of MerseyBeat they were not fan favourites, probably becuase they didn't sound like anybody else. The Cavern's compere Bob Wooler suggested as such whilst writing for "Mersey Beat" magazine in October 1961. Wooler offered a list of what he considered to be the 10 most popular bands in Liverpool at the time but the line-up did not include The Bluegenes with Wooler suggesting that "They are beyond comparison. They are in a class of their own" Whilst this may well have been the case, this did not neccesarily help the band's popularity as in January 1962, when the results of the first Mersey Beat poll appeared, the band were not even included in the Top 20. They added their "Swinging" appendage in 1963, and quite possibly along with the name change, became an archetypal beat group in the process. Despite the suggestion that they secured a recording contract largely on account of their geographical status, their debut single "It's Too Late Now" made it into the Top 30 but the 2nd release, the nondescript "Do You Know" didn't chart at all. Luckily fate dealt the group a couple of more than decent breaks. Firstly Lybro jeans decided to sponsor the groups own weekly "Swingtime" radio show which briefly held a 13-week residency on Radio Luxembourg and secondly a cameo appearance in the Christmas Day 1963 edition of "Z Cars" performing "Hippy Hippy Shake" heightened their national exposure and as a consequence, the single, a cover of an obscure '50s rocker by Chan Romero, reached No.2 in January 1964. This song was part of The Beatles repertoire during the early 60's and the story goes that The Blue Jeans first heard it performed by The Fab Four during one of their guest appearances at The Cavern and duly nicked it, recording their own version just one week later.* For their second 45, the band effectively repeated the winning formula of their previous release by producing a fine version of Little Richard's "Good Golly Miss Molly" which reached No.11 just 2 months after their debut but their finest hour was undoubtedly their cover of Betty Everett's "You're No Good," which they took to No.3 in July 1964 and which remains arguably one of the finest examples of Merseybeat ever committed to vinyl. But after this success The Blue Jeans struggled to maintain their status, a situation not helped by the fact that they apparently once turned down an appearance on the Ed Sullivan Show in order to honour a prior engagement in Sweden. The mediocre material they recorded throughout the mid-60's did not help matters, consequently when founder member Ralph Ellis left in 1965 they very quickly found themselves out in the cold. Ellis was replaced by ex-Escorts vocalist Terry Sylvester and 1966's half decent cover of Bacharach/David's "Don't Make Me Over" succeeded in achieving a No.31 chart placing despite receiving a scathing review in the music press by no less an individual than Paul Jones of Manfred Mann. But by the following year, their swing had very much been swung and attempts to address their decline resulted in changing their name to Music Motor for a brief period, whilst further releases during both 1967 & 1968 appeared under both The Bluejeans and Ray Ennis & The Bluejeans. All to no avail. Sylvester chose the inevitable escape route by replacing Graham Nash in The Hollies and the band finally folded. There have been several attempts at comebacks however - single releases for the Dart label in 1973 and the EMI & Rio labels in 1989 (which included a re-make of their first single). Consequently the band, under the careful guidance of Ray Ennis, are still out there, still swinging, forever blue jeaned.

THE SWINGING BLUE JEANS - Hippy Hippy Shake (1963)

*It has also been suggested that actress Sue Johnston, of "Brookside" and "Royle Family" fame had to buy the original version of "Hippy Hippy Shake" in Brian Epstein's NEMS record store so that lead singer Ray Ennis could learn the lyrics!

23rd December 1963
Johnny Carr & The Cadillacs
("Christmas Twistacular!" - "Balloon contests & "Take Your Pick" parcels")

30th December 1963
Peter Jay & The Jaywalkers