News Stories

Small Faces gig November 17th 1968

Guy Mowbray here, from Chesterfield. (not football commentator) 
Re: Small Faces gig, Birmingham Hippodrome(?) November 17th 1968
I’m a published author and currently writing a book about session musicians with The Small Faces. Some of these session musicians played in the brass section with the band at this gig. 

In June 1968, the Small Faces started touring in support of their No.1 album Ogden’s Nut Gone Flake. They took a five-piece brass section on the road. One of their final gigs with this unique line-up was at The Birmingham Theatre. I have interviewed musicians who were there and would like more fans views.
I’m seeking interviews and recollections of fans who were there. It was a full house. Also on the bill were headliners The Who, Arthur Brown – who sang “Fire,” Joe Cocker and also The Mindbenders and maybe Yes and/or Free.
Hope You Can Help.
My email is mowbrayguy01@gmail

Bob King

Bob King have been a DJ for almost 45 years. He sent a link to his site to the BMA. This is the beginning, for the full story go here:

This is the story of Bob King, a Disc Jockey from way back . It is also an Archive of Music which Hypnotised a Generation & still has an unbelievable following today. It is the most important piece of Small Heaths Social History since the Peaky Blinders.

Northern Soul that’s what it became known as in the 70s. When I started listening to this music it was just that, music, music that I thought I owned.

Bob King DJ, that’s a blast from the past, I was actually christened Robert Baddeley & born just outside of Swansea in South Wales, but everyone knew me as a Brummie. Small Heath in Birmingham, that’s where I grew up, that’s where I served my apprenticeship in music. Small Heath, 45 years ago was the landing place for immigrants from all parts of the world Asians, West Indians, Chinese, Irish & a little Taffy with a Brummie accent.

Oldknow Road Secondary Modern, my last couple of years at school & the start of my musical journey. Radio 1 had just been born & popular music was at last free for everyone to listen to, but what I heard at school hardly resembled any music played on the radio. When we could get access to a record player the music that we heard was something magical….Prince Buster singing about’ Judge Dread’, Desmond Decker &’ 007′, The Rudies with’ Brixton Rocket’, Little Grants & Eddie & ‘Rudys Dead.’….I couldn’t get enough of this music. Chart music of the day comprised of The Beatles, The Rolling Stones, Small Faces, mainly ripped off versions of a lot of American R&B stuff that I was slowly drifting towards. The Stones had a raw quality about them but the stuff I liked had been skinned alive, It was so good, basic, danceable….I just loved it.

Being a DJ was the last thing on my mind back then, I didn’t even know what a DJ did.

Tom Simpson, that’s who I wanted to be, the greatest British cyclist of his generation. I was a member of the local cycling club & spent every spare minute riding my bike & racing. Infact I’ve come the full circle because that’s what I do now.

Back at home I shared a bedroom with my two big brothers. Now our John he was a bit of a townie, I suppose you’d call him a mod, he rode a scooter, practised posh talk in our tape recorder, went to night clubs & from what he’s told me since had a very ‘fruitful sex life’! What he did do though was introduce me to another side of music, that has stayed with me all my life, soul, northern soul. He’d play Aretha Franklins ‘Say a Little Prayer'[ proper soul], Robert Parker..’Let’s Go Baby Where The Action Is’.&..’ Barefooting’…..The Four Tops ‘Reach Out’, The Temptations ‘Get Ready…my head was beginning to spin, this was a new phase In my life, an outlet outside of school & sport, this started to reshape my life.

With the final years of school looming I had various part time jobs & started spending most of my money on records. The thing about vinyl 45s is you’d play them, flip them over & bingo 4 times out of 10 you’d the B side would be as good as the A side ‘Robert Parkers ‘Barefootin’ being a good example. This was the beginning for me, Northern Soul as it became known in the 1970s had got me hooked. Even today I disappear into my man cave & relive the brilliant time I’ve had over the years with my music. I’m lucky really, most people I know got rid of their vinyl when the CD & download formats appeared, I didn’t, vinyl has always had a certain everlasting quality about it….you’ll pick up a 45 & think ‘that was a great tune’ you just can’t do that with a CD or Download….vinyl just jumps out at you. That can’t really be said about any other music format.

Memories of Brum Gigs 77-79. Where you there?

So here it is, 657 gigs that took place in Brum from 77-79. Compiled by Neil from gigs he attended, gigs he saw advertised in the Sunday Mercury, evening Mail and Melody Maker. It is an incredible picture of the bands who played and played together and the venues they played. I’m really interested in the history of Barbarellas and the bands who played there over that period is a who’s who of punk.

I want to thank Neil for providing such an amazing list of gigs and throw it open to BPMA community to add other gigs, amend line ups, and share memories of the gigs. What were the bands like, who did you go with, what was the best gig?

As always, over to you!

William's Conquerors

Yardley Wood, Birmingham

William’s Conquerors

Bob Adams guitar
Brian Harbison
lead vocal, bass guitar
Bryan Miles drums
Mick Webley lead guitar

In the early 1960s, Yardley Wood was a quiet, suburb of Birmingham. Had you taken a bus from the city centre to the terminus and stepped off to hear guitar sounds emanating from the Church Hall, you probably wouldn’t have agreed. This was the practice ground for “The Vaqueros”, a local group. Sporting Futurama guitars (all six string), Brian Harbison, Mick Webley and Andy Grace formed the front line with Bryan Miles on percussion (one snare, one symbol and a six foot diameter bass drum).

The music was instrumentals by The Shadows, The Ventures, Duane Eddy etc. The lads only booking at this stage was for the quarterly Christ Church Youth Club dance. They were all active members of the Youth Club and after a Wednesday night meeting back at Brian’s house, another member Bob Adams demonstrated his superior guitar skills by playing a bar chord. This technique had not yet been mastered by the trio of guitar, strumming “cowboys” the meaning of which in Spanish is “Vaqueros”. Bob, or ‘Nob’ as he became more affectionately known was immediately drafted in to replace Andy. Brian Harbison replaced his six string for a bass and Bryan Miles updated his drum kit. A change in music style introduced vocals by Chuck Berry, Buddy Holly, Everley Brothers etc.

The Vaqueros

At this stage, no lead singer had emerged and so it was that they enlisted the services of Mick “Fish” Fisher spotted performing an outrageous version of the old blues classic “Shame” at another local church Youth Club, Holy Cross. “Fish” was not only a nutcase well ahead of his time musically, but someone who added another dimension of sound to the line-up. A more raucous style of rock/R & B developed and a name change to “William & The Conquerors”.

As a semi-pro, five piece, the lads played an increasing number of local bookings at weddings, Youth Clubs and private functions. Regular gigs at Hopwood Caravan Club and The Meadway supplemented by a weekly residency at The College Arms in Kingstanding, led to 5 – 6 bookings per week by the end of 1964. During this year, the group invested in bigger and better equipment, including their own van, which was an ex “Brook Bond Tea” delivery vehicle. This choice obviously proved that they were way before their time i.e. the association of “Tea” with the behaviour of “Chimps”!

They auditioned for Van Kinson Promotions at The Cedar Club and took on a new manager from Excelsior Artists, Dick Homans. By the end of that year, they had also started playing all-nighters at The Chateau Impney with such artists as Dusty Springfield, Screaming Lord Sutch and The Chicken Shack. In early 1965, in the Midland Beat Competition finals, they lost out to The Con-Chords and The Kingfishers. Differences of opinion with “Fish”, led to the decision to perform all the vocals, with Brian Harbison taking up the mantle of lead singer from mid-March, Fish being happy with a £45 “golden handshake”. The group then became, “Williams Conquerors” developing a blend of harmonic vocals, performing in a more Soul/Tamla/ Blues & Rock style.

There was an increasing desire to succeed, talk of turning professional was rife, but more importantly they realised the need to start writing their own material. This was developed as they progressed through the quarter and semi-finals of The Midland Beat Competition. Blue, Love That Is True, It’s Too Late and You Left Me, were all Harbison originals penned during this period, as they set their sights on winning “The Midland Beat Competition”.

It was hard work developing their portfolio and building up a stage repertoire, but by now they were playing with such artists as PJ Proby, Georgie Fame, Cliff Bennett and the Rebel Rousers, The Animals, Lulu and the Luvers. In June 1965, the hard work paid off. Williams Conquerors won The Midland Beat Group Competition Final beating the UK Bonds, Shooting Stars, Marbells, Size Six and The Telstars. Blue, With Love That Is True, were two of their originals, that along with Roadrunner (Bo Diddley) gave them the edge over the other contestants, borne out by the judges’ comments emphasising this fact. The lads won a recording test with Alan Freeman of Pye Records, £50’s worth of equipment, a trophy and a string of bookings on the well-known local Reagan circuit.

They purchased a new van and whilst playing at Corby Civic Hall with Cyril Stapleton, were invited to Studio A at Radio Luxembourg to record their original work of four tracks. They also appointed a new manager, Graham Bott and had been offered two different German, three-month contracts. Things couldn’t be better! Other demo sessions at Vincent Ladbrook and Tetlow Studios produced material contained within the album and in October 1965, a five-year contract with Pye was in the bag. As triumphant as the king in 1066, Williams Conquerors returned to Hastings to perform a concert at the Witch Doctor, followed by a tour of the town on a float. The event certainly proved to be “one in the eye” for the indigenous population!

In 1965, the Brum Beat scene was seemingly the place to be and Williams Conquerors were excited to be part of it. Alex’s pie stand at Snow Hill was a place to gather and chat after bookings. Ten Pin Bowling with The Applejacks and Andy Clappers became a recreational mechanism. Playing with groups from Birmingham that had “made it” such as Spencer Davis, The Fortunes and The Applejacks and other successful, nationally known bands such as Them, Sorrows, Yardbirds, Johnny Kidd and the Pirates, Mojos, Zoot Money and Alex Harvey provided the inspiration to make them decide to turn professional. In order to do this, yet again changes had to be made. A new programme was to be learnt. New stage gear was bought and most significantly, a new drummer was required to replace Bryan Miles who did not wish to turn pro and risk his career!

Derek “Pecker” Woodward was recruited as a replacement from the “Dueces Wild”, a local group that had just returned from France. Other significant events that occurred at the back end of 1965, a full front page on the Midland Beat magazine. The opening of their own venue, “The Bent Boot” at The Golden Eagle in Hill Street, Birmingham and a performance in front of talent scout Martin Wyatt. Nob’s father, who was a keen DIY man, had ensured that maximum security was employed to protect the van and its contents, as the lads futures would be dependent on it. Padlocks had been fitted to the rear and side doors, grills to the back windows. An alarm and immobiliser completed the job. Most importantly, however, were the new wooden doors adorning his garage, which housed the sacred van.

Their last gig as semi-pros was at the Belfry – the New Year’s Eve Ball. It was a cold and windy night. Nob, having dropped off the rest of the band, arrived home at 3.00am. Manoeuvring the van into the garage was a tricky job with little to spare on either side. Confident in his driving ability, Nob reversed the van and unceremoniously smashed the garage door to bits! He hadn’t noticed that it had blown shut! The next day brought several comments from shocked neighbours as they observed the van’s intricate parking, half in and half out of a partly demolished garage. That must have been some party Robert was at last night and anyway what exactly is a professional musician? January 1st 1966, was the start of their professional career and Mick Webley (lead guitar) bought a new Gibson Stereophonic guitar and two Vox amplifiers. “Nobby” (rhythm) a Gresch Anniversary, Brian a blonde Gibson EB2 bass and “Pecker” a new set of Ludwig drums.

On 28th January, Williams Conquerors recorded six numbers for BBC Radio. The programme was to be one of the “Beat Nite” series entitled “One Night Stand” and also featured the newly formed Move from Birmingham. Compered by Tom Coyne and produced by Michael Ford, it was broadcast on February 2nd. The tracks played were Night Train, Watch Your Step, Watcha Gonna Do About It, Land Of A 1000 Dances and the self-penned She (Harbison) and Education (Adams). The latter Nob allegedly wrote in 1 1/2 hrs in the smallest room in his house, to make up the tracks required!

As the year progressed, they auditioned for Galaxy Entertainments at Wycombe Town Hall, Romford, Essex. This was for Don Arden who managed The Small Faces. They bought some “mod” gear from Carnaby Street to enhance their image and recorded Leave That Town and She both Harbison originals. That was with Alan Freeman and Martin Wyatt and was to be their first release for Pye. Whilst travelling back from Wycombe in the early hours, through the country roads of Gloucestershire, the lads were not too surprised to be pulled up by the local fuzz. This happened quite often because of the blacked out van windows and the padlocked rear doors. “Where have you been and where are you going?” – the normal ritualistic questions were fired at Brian, who satisfactorily answered them. The next part of the investigation was not quite as expected, as the officer threateningly shone his torch into the van until reassured that Brian was wearing shoes!!

The investigation then moved to Nob in the passenger seat and Mick and Peck who were both asleep in the back of the van. Imagine being woken up after an exhausting night’s work by a policeman shining a torch in your eyes shouting “Show us your feet!” If anyone has the slightest idea what that was all about, please let the lads know!

Brian was writing to the likes of R. King in Denmark Street (Tin Pan Alley) in an attempt to secure a publishing contract whilst frantically working both the top local and national scene 6/7 nights at week. Gigs at The Ritz, Kings Heath, Plazas Old Hill and Handsworth were played with Listen (Robert Plant and John Bonham), Move (Roy Wood, Carl Wayne, Bev Bevan, Ace Kefford), Idle Race (Jeff Lynne), The Mods, Cheetas, King Bees (later Craig), Cock-a-Hoops.

Travelling to Stoke, Corby, Newquay, Wilmslow, Derby, Wellington, Evesham and regularly appearing at Club De Danse, Colchester, Flamingo Club, London, Top of the Town, Manchester, Victoria Ballroom, Cambridge, Tavern Club, Norfolk, Drill Hall, Newmarket, Regal Ballroom, Derby, Casino Club, Leicester, Glen Ballroom, Llanelly, Twisted Wheel, Blackpool etc., they built quite a following. During May and June, demo recording sessions at Tetlow Studio produced tracks such as Gotta Get Away and I’ll Always Love You in an attempt to represent a sound more representative of their live performances. In August, Williams Conquerors became The Frame and during September and October, She, Leave That Town, My Feet Don’t Fit In His Shoes and The Spiv were recorded for RCA.

To read the continuation of the Williams Conquerors/Frame story,
The Frame

With Special Thanks
to Brum Beat
Copyright©John R Woodhouse
Copyright © Bob Adams & Brian Harbison

Compiled by Keith Law


Sutton Coldfield

Keith Abingdon guitar, vocal
Gary Aflalo lead vocal
Bobby Booth bass guitar (left in 1968)
Geoff Garratley Hammond organ, vocal (left in 1969)
Jim Leyland drums (left in 1968)
Frank Farrell bass guitar (joined in 1968)
Richard Thomas drums (joined in 1968)
Bill Hunt Hammond organ (joined in 1969)

“Psychedelic Soul” was one name invented by reviewers in an attempt to describe the style of music performed by this high-energy West Midlands band. The Breakthru were a popular live attraction who made several notable appearances at outdoor music festivals.

Breakthru were formed in 1967 as a professional group and were based in Sutton Coldfield. The members came from a couple of young semi-pro bands; The Clampets who were an R&B band from the Kingshurst area of Birmingham, and The Set who were a pop group from Castle Bromwich. The original members of Breakthru were Keith “Smoke” Abingdon (guitar), Bobby Booth (bass guitar), Geoff Garratley (Hammond organ), and drummer Jim Leyland. Breakthru were fronted by the charismatic and afro-equipped Gary Aflalo who more than filled the position of lead vocalist.

Gigs were booked by the Richardson Entertainments agency of Birmingham. The original concept of the band was to establish an exciting live act that would combine soul and Tamla standards with self-composed progressive music. Some reviewers who attended a Breakthru performance would describe the band’s music as “Psychedelic Soul” which was probably a good description of it for that time. The Breakthru soon became a popular live act who played most of the well known local venues in Birmingham and throughout West Midlands. The group also had a residency at London’s Marquee Club as well as playing bookings all over the U.K. which included performances at outdoor music festivals.

By 1968 there were a few changes to the Breakthru line-up with Jim Leyland leaving to be replaced by drummer Richard “Plug” Thomas, and Frank Farrell replacing Bobby Booth on bass guitar. A significant booking for the band was the Woburn Abbey “Festival of Flower Children” held in August of 1967. This three day event also included such famous names as The Jimi Hendrix Experience, The Bee Gees, Eric Burdon, and The Small Faces amongst others. The festival was hosted by the influential British DJ John Peel (film footage of this concert still exists). Breakthru also performed at the highly-rated Plumpton and National Jazz and Blues festivals (for more information, check out The Archive – an excellent website that profiles the great UK rock festivals from 1960 to 1975).

Breakthru were signed to the Mercury Records label in 1968 for whom they recorded a single. The A-side entitled Ice Cream Tree was composed by Tom Loach, while the B-side Julius Caesar was a song composed by the bands’ manager Russell Thomas. According to drummer Richard Thomas, the record was not a good representation of the band’s sound at that time. The single was released in November of 1968 but apparently had no success in the record charts. A follow-up single Peer Gynt remained unreleased.
Breakthru Get Back on the roof of Nelson House

One of the more unusual performances by the band was a gig played on the roof of Nelson House clothing shop on Birmingham’s Bull Street. This ground-breaking event was organized to drum up publicity for the opening of the new store and it pre-dated the Beatles famous rooftop concert by a year! 1969 saw more changes to the Breakthru line-up when Birmingham School of Music graduate Bill Hunt replaced Geoff Garratley on the Hammond organ.

The recording of a proposed Breakthru album of original material for Mercury Records was well underway during 1969 but unfortunately nothing was ever released due to the cancellation of the band’s recording contract. In 1970, the group toured Europe but disbanded shortly after returning to the U.K. with the various members going in their own musical directions.

Gary Aflalo went on to a lead role in the famous musical Hair in 1971. Frank Farell (now deceased) played bass guitar with the successful progressive rock band Supertramp and later worked with Leo Sayer co-composing his No. 1 hit record Moonlighting. Keith Abingdon carried on as a working musician and composer. Bill Hunt became part of the first live line-up of the Electric Light Orchestra (see The Move) and later became a member of Roy Wood’s chart-topping band Wizzard. He is now a music teacher.

Richard Thomas moved to London and worked with American guitarist Joe Jammer before joining the respected prog-rock band Jonesy with whom he recorded three albums. In 1974, Richard Thomas formed the group “Gold” who were originally a pop act but later became one of the most successful bands to record advertising “jingles” during the 1980s. Richard also formed a recording group with former Breakthru band-mate Keith Abingdon called “Spot The Dog” under which name they released a couple of good (though non-charting) singles during the early 1980s. Richard is still a full-time musician and song writer, also producing music for TV.

With Special Thanks to
Brum Beat
Copyright © John R Woodhouse
and to Richard Thomas for assistance in preparing this Breakthru biography
and photographer Barry Gonen who has supplied wonderful photos of the band.

Compiled by Keith Law

Mike Sheridan and The Nightriders

(Early Idle Race (1963 – 1966)


Mike Sheridan lead vocal (left 1966)
Brian Cope bass guitar (left 1963)
Al Johnson lead guitar (left 1964)
Dave Pritchard guitar, vocals
Roger Spencer drums
Greg Masters bass guitar, vocals (joined 1963)
Roy Wood lead guitar, vocals (joined 1964, left 1966)
Johnny Mann lead guitar (joined & left 1966)
Jeff Lynne lead guitar, vocals (joined 1966)

This group was one of the most well known Brumbeat acts of the early 1960s and are also very significant as the members included two of the most famous Birmingham musicians
of the 1960’s and 70’s, namely Roy Wood and Jeff Lynne.

Mike Tyler started his music career at a young age by playing piano at a pub in Kings Heath. After entering and winning a local talent contest, he was asked to join Billy King and the Nightriders which he did after changing his stage name to Sheridan.
The group attracted a large local following and after various personnel changes, Sheridan became the lead singer and frontman.

The Nightriders also included lead guitarist Alan ‘Big Al’ Johnson who was manager of Burton’s tailors on Corporation Street and guitarist Dave Pritchard from a group called The Planets. Drummer Roger Spencer who was from Castle Bromwich,
had previously played in a group called The Hound Dogs. Bass guitarist at the time was Brian Cope.

Mike Sheridan and The Nightriders soon established a reputation around Birmingham as one of the most accomplished bands on the scene at that time.

In June of 1963, Cliff Richard & Shadows producer Norrie Paramour
came up to Birmingham to audition local beat groups at the Moat House Club in the Bull Ring. Of the 13 bands that had been recommended, five including the Nightriders were signed-up by Paramour to the Columbia Records label.

Mike Sheridan & The Nightriders first record release was Tell Me What You’re Gonna Do but in late 1963, Brian Cope left the group and was replaced by Greg Masters from Nechells who had played in The Dominators and The G Men.

The next single to be recorded by the Nightriders at the famous Abbey Road Studios in London was Please Mister Postman (recorded on 22nd November 1963 – the same day President Kennedy was assassinated) and although it didn’t chart it sold well locally and gained the band much attention.
The Nightriders respected lead guitar player, Big Al Johnson, left the band in 1964 after appointing a young successor by the name of Roy Wood.

Roy Wood
was born in Birmingham on November 8, 1947. He started playing drums and harmonica at an early age, turning to the guitar when he was about 14 after being influenced by instrumental groups such as The Shadows and The Ventures.
Six months later he had joined his first band called The Falcons and was playing Chuck Berry and Little Richard style rock ‘n’ roll.

It was at about this time that Roy Wood first started to write songs, and by 1963 had joined Gerry Levene and The Avengers, a group that also included future Moody Blues drummer Graeme Edge.

Roy Wood’s association with the Avengers lasted only for about four months before he left to join Mike Sheridan’s Nightriders. He answered an advertisement in the Birmingham Post & Mail that read


Roy Wood was chosen out of about a dozen applicants and his talent as a guitarist and singer became immediately noticable. He also introduced comedy into the Nightriders act on stage by doing Donovan and Dusty Springfield impressions while wearing a suitable wig!

The first Nightriders single to be recorded with Roy Wood on guitar and backing vocal
was What A Sweet Thing That Was/Fabulous released at the end of 1964.
In early 1965, Mike Sheridan & The Nightriders, like many British groups in the early 1960’s went over to Germany to undertake some bookings.

When they returned, another single Here I Stand/Lonely Weekends was released
in 1965, and the group’s name was changed to become Mike Sheridan’s Lot.

On the next Nightriders single Take My Hand, Roy Wood alternated on lead vocal with Mike Sheridan. Make Them Understand was the B-side and is significant
by being Roy Wood’s first songwriting effort to be published.
Although not an exceptional composition, it does feature some excellent guitar work but Mike Sheridan, not Roy Wood sang the vocal on it.

After the release and subsequent failure of the excellent Don’t Turn Your Back On Me single in early 1966 (a song written by American composer Jackie De Shannon
and recorded with future Pink Floyd producer Norman Smith), Roy Wood left the band to become a founding member of Birmingham’s hit group The Move.

His place was taken by Johnny Mann from Carl Wayne and The Vikings
and Mike Sheridan carried on as the frontman for a short time before also leaving.

With Mike Sheridan’s departure, the group’s name was abbreviated to the Nightriders although Johnny Mann decided to leave soon after and a young guitarist named Jeff Lynne who lived in Shard End, joined the band in response to an advertisement in the local paper. Lynne’s first group was called The Andicaps
and he had also previously been a member of the Chads (originally known as The Sundowners). After the release of a final Nightriders single, the band was re-named The Idle Race and a change in musical direction followed (see Idle Race).

Mike Sheridan continued to perform around the Midlands for a while as Mike Sheridan’s New Lot with a line-up of his consisting of Joe Dignam on drums, guitarists Pete Oliver and  Terry Wallace (see Carl Wayne and The Vikings) and Colin Timmins on bass guitar.

They released a single in 1966 and Mike Sheridan later joined up with Move bass player Rick Price to form the group Sheridan-Price with whom he also recorded an album (see Sight and Sound). Mike Sheridan retired from music in the early 70’s to start a successful business selling potatoes.
In the 1980’s he returned with a new Nightriders band playing 1960’s style music and he’s still a well known and much respected performer in the Birmingham area along
with his wife Suzi Sheridan.

Today’s line-up of the Nightriders include Rod Godwin who has worked with Jimmy Powell, Cathedral and Coventry band Jigsaw as well as many others including Badfinger. The line-up also features veteran musicians Phil Middleton and Nick Cripps.

With Special Thanks to
Copyright -© John R Woodhouse
Brum Beat

Compiled by Keith Law


28 March 1964 – California Ballroom, Dunstable, Bedfordshire with Mike Berry & The Innocents, Rel Jason and The Blue Stars and Johnny Kaye & The Cossacks (website:
28 March 1964 – Malborough Hall, Halifax, West Yorkshire (Website:

26 July 1964 – 76 Club, Burton on Trent, Staffordshire (

20 December 1964 – 76 Club, Burton on Trent, Staffordshire (

23 January 1965 – Dungeon Club, Nottingham (

13 February 1965 – Malborough Hall, Halifax, West Yorkshire (see website above)

10 March 1965 – Winter Gardens, Weston Super Mare, Somerset (Weston Mercury)
12 March 1965 – Dungeon Club, Nottingham (
13 March 1965 – Boston Gliderdrome, Boston, Lincolnshire with Alex Harvey & His Soul Band and The Ashes (Lincolnshire Standard)
19 March 1965 – Marcam Hall, March, Cambridgeshire (Cambridgeshire Times)
21 March 1965 – Agincourt Ballroom, Camberley, Surrey with The Emerlads (Camberley News/Aldershot News)

9 April 1965 – Dungeon Club, Nottingham with The In Crowd (
24 April 1965 – Gaiety Ballroom, Ramsey, Cambridgeshire with The Half Dozen (Website:
26 April 1965 – Hermitage Ballroom, Hitchin (Hertfordshire Express)
28 April 1965 – Winter Gardens, Weston Super Mare, Somerset (Weston Mercury)

16 June 1965 – Locarno, Stevenage, Hertfordshire (Welwyn Times/Hertfordshire Express)
26 June 1965 – Boston Gliderdrome, Boston, Lincolnshire with Them and Rodgers Lodgers (Lincolnshire Standard)
27 June 1965 – Dungeon Club, Nottingham with The In Crowd (
29 June 1965 – Gala Ballroom, Norwich with Poor Souls (Eastern Evening News)

17 July 1965 – Weybridge Hall, Weybridge, Surrey (Woking Herald)

28 August 1965 – Gaiety Ballroom, Ramsey, Cambridgshire with The Midnighters (Cambridgeshire Times)

3 September 1965 – California Ballroom, Dunstable, Bedfordshire with The Who and The Vivas (website:

9 October 1965 – Boston Gliderdrome, Boston, Lincolnshire with Small Faces and The Federals (Lincolnshire Standard)


18 November 1965 – Alexandra Hall, Halifax, West Yorkshire with The Zeros (Website:

31 December 1965 – California Ballroom, Dunstable, Bedfordshire with Dave Dee, Dozy, Beaky, Mick and Titch, The Fenmen and The Nite People (website:

17 March 1966 – Club Cedar, Birmingham (Birmingham Evening Mail) BILLED AS MIKE SHERIDAN’S NEW LOT

Thimblemill Baths



Thimblemill Road Baths are now 75 years old and are known are more recently as Smethwick Swimming Centre

The art deco style baths opened in 1933 and was once known as a top concert venue with bands including the
The Beatles, The Kinks, the Small Faces and The Rolling Stones appearing here in the 1960s.

The Beatles performed here on November 19th 1962 just before they hit the big time.
As in the other ‘bath’ venues many of the local bands would appear here, either as the main attraction,
or in support

The lounge (now the gym) overlooking the pool, as it was when opened in 1933.
The art deco wall decorations are still visible. In the winter season the pool would be covered over so the baths could be used as a concert hall. They were also used for musical events –


A photographic exhibition has been displayed in the baths for the past three months which traces it’s history
and includes one report which tells of how The Beatles having played at the Cavern in Liverpool one afternoon, then headed to Smethwick for a “prestigious” gig at Thimblemill Road Baths.

Compiled by Keith Law

26 February 1967 – Deep Feeling (with Jim Capaldi on drums) and Clockwork Orange

Whiskey A Go Go

On John Bright Street and was formerly the Laura Dixon Dance Studio
Later called The Marquee and The Limelight

John Bright Street/Hill Street

The Whiskey a Go Go was above Chetwyns on the corner of John Bright Street and Hill Street.
The Whiskey was well known for live Mod bands, and for showing locals bands such as, King Bee’s, Modonaires, Jugs O’Henry, Moody Blues,  Denny Lane, Spencer Davis and The Williamsons.
Amongst other UK who appeared were, The Faces, Long John Baldry & The Steam Packet, and Gary Farr and The Knockouts.  Georgie Fame would play virtually all night.They couldn’t get him off the small stage until he collapsed with exhaustion, or lack of stimulation’s. It also starred American acts such as “Motown” & “R&B” greats like Sonny Boy Williamson, (see my note below) & Ike and Tina Turner.

The club put on all nighters on Fridays till 8am Saturday mornings and again on Saturday nights till Sunday morning.
The owners Chris & Steve Healey were two great guys who welcomed you in jazz striped coats. Great Brummie characters of the time also frequented The Whiskey, and it read a who’s-who’ of Birmingham club goers

They used to pack in nearly 250 townies and mods onto both floors in those days with no fire escapes only a small front door with narrow wooden steps up to the 1st and 2nd floor’s. Live bands on the 1st floor and DJ’s on the top floor.
On busy nights, many clubbers where turned away at the door if you weren’t part of the in-crowd!
People would fall asleep on the wooden floor after they tired from dancing at about 5pm, but the bands and DJ’s played on till about 8am the following morning. Money and stuff all over the floor, came out of peoples pockets, it was like an “Aladdin’s Den” The Whiskey attracted people from all over the midlands, including Coventry and London scene, to dance and hear live music of the era, that was very ahead of pop culture in England at that time!

My special thanks to bobsummers of the Birmingham History Forum, for the essence of this post.

Here is an article from Brum Beat

 22 Jan 2007

Brum Beat- Sonny Boy Williamson & John Mayal In The House
Friday, January 12, 2007

Sonny Boy Williamson & John Mayal In The House.

Greetings people,

I just wanted to revert back to the last blog with regard to Keith Law, something that came up again in conversation recently which I thought was definitely worth sharing with you all,Keith’s first band was a West Brom outfit called “The Williamsons”.

The Williamsons

Keith played in the band during the mid 1960’s and amongst their support slots they performed before the legendary blues artist “Sonny Boy Williamson”. Williamson had been been brought to play in the Golden Eagle in Hill Street by Georgio Gomelski while touring with the Yardbirds, another who played before Sonny Boy in Birmingham was Spencer Davis. “The Williamsons” band became a dedication to Sonny Boy.

Before he left the Industrial heartland, Sonny Boy gave Keith’s band a wonderful accolade by declaring the Williamsons “..a great young blues band.” true praise indeed from a man who started his own career playing alongside people such as blues hero’s Robert Johnson, Robert Nighthawk, Robert Jr. Lockwood and Elmore James.

Sonny soon returned to the U.S. after his European shows and continued to play until his untimely death on May 25, 1965. Sonny Boy Williamson left behind an array of truly inspired future Rock legends such as Eric Clapton, Jimmy Page and Robbie Robertson to name but a few, and talking of Eric Clapton… (taken from a recent email from Keith Law)

‘Someone mentioned Wolverhampton, and one night in the late 60’s I stood in a queue with Robert (Plant), outside Wolverhampton Town Hall. Top of the bill, John Mayall’s Bluesbreakers. Bob and I went to the Gents, and were chatting, and then we were joined by two blokes, on Bob’s left hand side stood John Mayall, and on my right, stood Eric Clapton!!! ‘ – Keith Law

(Robert Plant later covered Sonny Boy Williamson’s ‘Bring It On Home’ while playing in Led Zeppelin)

And so, back to 2007. I think that the need for a small low key but well fitted out blues venue in central Brum today is quite apparent, Ronnie Scot ts fitted the bill until it turned into a lap dance bar, although the prices were a little steep (when it was Ronnie’s of course), anyone reading this with a love of Blues could do far worse than put their money into a low key Brum Blues joint, the performers are out there, they just need a stool, mike, amp, drinks and audience to entertain (I really don’t like large overpriced venues like the Alexandra), anyway I shall let Keith close this blog.. stay safe guys. BB

‘You don’t have to be famous, to make a living in the music business,
just give the folks, what they want’ – Keith Law

This fella wrote to me personally, and here’s a copy of his post on another site.

Good reading it brings back happy memories was a Mod in the 60s and went to all the usual places where the Mods frequented.

Nobody has mentioned Laura Dixons above Chetwins mens outfitters the corner of Navigation St when i used it was The Whisky A GO GO. Spencer Davis was more or less a resident group there,i saw some great groups at that place Georgie Fame,Yardbirds when Eric Clapton played with them The Yarbirds played one easter in the 60s and all my mates went to a Manchester club called Tiles on their scooters my scooter was out of action, the night the Yardbirds played there was about 30 people in the club it was great being able to have a chat with one of my favourite groups especially Clapo by the way he’s a Baggies fan.

On a nother ocassion i was going to the Whisky to see the late great harmonica player Sonny Boy Williamson
I was waiting by the bus stops in Navigation to meet a girl ”dolly in them days” of the 45 bus from Kings Norton she never got of the bus that she was supposed to,the buses were every half hour so i decieded to go for a pint in the Navigation Pub when i got in i could not believe my eyes there was Sonny Boy drinking whisky,he wanted to buy a full bottle the barman said he could’nt he turned to me and i tried to tell him the reason why he could’nt what a great feeling talking to one of my favourite harmonica players

Happy Days Mossy The Mod

Here is a piece posted on the Birmingham History Forum

I was the disk jockey on the second floor in 1965 /66……..I first went to the Whisky in a full length white leather coat….Nitso Ronny, the manager took me into his office told me I had arrived in Birmingham….he took the coat and locked it away until the club closed, then gave it me back! I loved Ronny…fat bloke with ginger hair, where is he nowThe second floor was where the bands played….the small corner stage had a single light bulb over it and nothing happened when the band wasnt playing. I suggested to Ronny that I played some records and put some lights over the stage….he agreed and paid me £2.10 shillings [£2.50] to work from 12 midnight till 7am….supply your own blues. The lights were baby milk tins with coloured bulbs in them!

I remember bands like The Small Faces, Georgie Fame [saw him recently and even he remembered getting his Hammond up those f’in stairs! and my favourite Graham Bond..with Ginger Baker [heh Ginger], Dick Heckstal Smith and Jack Bruce [later to become Cream]. The favourite record of all time was Shotgun Wedding by Roy C, the greatest LP The Sue Story

The name changed to the “Crazy E”

Chris and Steve started to go to the Isle of Wight during the week…I took them in the back of my van every Sunday….we put a settee in and they sat and drank vodka and bitter lemon all the way to Portsmouth…..

They bought a club on The Isle of Wight called Chequers [Pete Van Buren joined us but that’s another story]. I moved over and we had a great couple of years running the place. We had weekly residences with Ten Years After, Skip Bifferty, etc. The Hippies had arrived though and everything changed.

Thanks to BHF Member Skip Davies for this article

Compiled by Keith Law

Ocean Colour Scene


Ocean Colour Scene are an English Britpop band from Birmingham. The band were formed after two other local bands called The Boys and Fanatics disbanded. Fanatics released an E.P. titled Suburban Love Songs.

The original line-up consisted of:
* Steve Cradock; (b. 22 August 1969); guitars, piano, mandolin, E-bow, autoharp, organs and backing vocals
* Simon Fowler, (b. 25 April 1965); vocals, harmonica and acoustic guitar
* Oscar Harrison (b. 15 April 1965); drums, piano and backing vocals.
* Damon Minchella (b. 1 June 1969); bass guitar

Damon Minchella was fired by the band in 2003, temporarily replaced by Gary “Mani” Mounfield for a support slot with Stereophonics and then was permanently replaced by Dan Sealey on bass. Another guitarist, Andy Bennett was also added, making them a five-piece.


Early Ocean Colour Scene press shot. Via Mike Davies

Other contributing musicians:
* Alison Moyet; backing vocals
* Tony Hinnegan; cello
* Paul Weller; electric guitar, organ, piano, backing vocals
* Jools Holland; piano, hammond organ
* PP Arnold; vocals
* Rico Rodriguez; trombone
* Tony Griffiths, Chris Griffiths; backing vocals
* Brendan Lynch; mellotron
* Steve White; tabla, timpani, percussion, (also seen playing drums in the “Crazy Lowdown Ways” video)
* Brian Travers; saxophone
* Mick Talbot; keyboards
* Edgar Summertyme; backing vocals
* John McCusker; violin, viola
* Carleen Anderson; backing vocals
* Mark Feltham; harmonica
* Kevin Rowe; electric guitar
* Linda Thompson; vocals
* Dalbir Singh Rattan; tabla
* Duncan Mackay; trumpet
* James Hunt; saxophone
* Stewart Bartlett; french horn
* Nichol Thompson; trombone
* Tim Jaques; percussion, drums, timpani
* Michael McGoldrick; uilleann pipes, whistle, flute
* Dave Fowler; Autoharp
* Helena Payne; Mbira
* Ted Atkinson ; percussion, piano
* Ste Fov; Sax
* Rab Glenn; Triangle
* Peter Mac; Double Bass
* Jimmy Algie; French Horn
* Christopher G L Cobaine; bongos

Their first 7″ single was called “Sway” and was released in the early 1990s UK indie era. However, when their record label was swallowed up by larger company Phonogram their eponymous debut was mixed, against the band’s wishes, to fit in with the Madchester musical trend of the time. With the album largely deemed a failure, and with the band in dispute with their record company, they spent several years in the wilderness.

With the explosion of the Britpop scene, OCS’s music became nationally and internationally known. Their second album Moseley Shoals was received to critical acclaim, containing four hit singles and reaching the heights of #2 in the UK Albums Chart and the follow up, Marchin’ Already displacing Oasis at the top of the charts. Their song “The Riverboat Song” was featured on Chris Evans’ TFI Friday as the backing music when guests were introduced, and “Hundred Mile High City” and “July” were used in the film Lock, Stock and Two Smoking Barrels and the associated television series. More recently, their first hit single “The Riverboat Song” has been featured in the Vinnie Jones film Strength and Honour. They also played at the largest free standing gig of all time at Knebworth supporting Oasis on 10 and 11 August 1996.

Simon Fowler once received a message from a Spanish fan asking permission to use his lyrics “Get up and drink to the days / Ones who are gone in the shortest while” on the gravestone of their brother, who had just died in a car crash. He said afterwards, “That’s got to mean more than going on Top of the Pops”. The lyrics are from “One for The Road” (on Moseley Shoals).

In 1998 they headlined their own arena tour and played three sold out nights at Stirling Castle, Scotland. Their arena tour became the biggest selling arena tour of any UK band in 1998. Having undergone lineup changes, the band continue to record and perform, though they have struggled to recapture the success they enjoyed with their breakthrough album Moseley Shoals. Their sound is deliberately retro, and influenced by sixties rock, especially Small Faces.

Lead Guitarist Steve Cradock and former bass guitarist Damon Minchella have been long-time members of ex The Jam frontman Paul Weller’s backing group, performing live and contributing to his solo albums before Ocean Colour Scene broke through to a wider audience. Lead singer Simon Fowler has also contributed to Paul Weller’s albums in the past.

Cradock and Minchella still regularly perform with Weller, despite Minchella no longer being an active member of Ocean Colour Scene. During their peak (around the time of the Moseley Shoals release) OCS also regularly performed on stage with Noel and Liam Gallagher of Oasis with whom they were on tour at the time. These connections came about mainly due to OCS’s musical abilities, which both Gallaghers and Weller praised greatly.

One particular performance of note with the Gallaghers was a storming rendition of The Beatles’ “Day Tripper”, which was included as a live B-Side to the single “The Circle”. The song was also included on the B-side compilation album B-sides, Seasides and Freerides. Noel Gallagher previewed an advance copy of the song during an interview on Radio 1 with DJ Jo Whiley. The interview mainly focused on Oasis’s then-forthcoming gig in the grounds of Knebworth House, of which Ocean Colour Scene were one of the supporting acts. Over 2.6 million [1] people applied for tickets for the shows, making it the biggest demand for concert tickets in British history. There was a combined audience of over 250,000 people. See Concerts at Knebworth House.

As in recent years, the band has recently announced a number of December tour dates, and glamour model Jodie Marsh has announced that they will be playing at her wedding on 1 September which will be filmed for her MTV Show Totally Jodie Marsh: Who’ll Take Her Up the Aisle?.

OCS played the OXEGEN festival in Ireland and were extremely well received by the crowd in the Green Room on the Saturday night. The band also played festivals in Japan/Korea during August 2007, where they were well received despite the band themselves thinking they were not well known over there, and also played at the V festival over the weekend of 18 and 19 August 2007.


Studio albums

1 Apr 1992 Ocean Colour Scene 54
8 Apr 1996 Moseley Shoals 2
15 Sep 1997 Marchin’ Already 1
13 Sep 1999 One from the Modern 4
9 Apr 2001 Mechanical Wonder 7
7 Jul 2003 North Atlantic Drift 14
21 Mar 2005 A Hyperactive Workout for the Flying Squad 30
30 Apr 2007 On the Leyline 37

B-sides, compilations and live albums

3 Mar 1997 B-sides, Seasides and Freerides 4 B-sides compilation of material from the ‘Moseley Shoals’ era
20 Nov 2001 Songs for the Front Row 16 Compilation of mainly singles up to 2001 with other tracks. Limited edition also released with bonus live CD
7 Dec 2002 Live on the Riverboat N/A Live recording of an acoustic concert by Simon Fowler and Oscar Harrison (limited edition 3000 copies via band website)
1 Sep 2003 Anthology 75 Complete collection of material from up to 2001, including singles and b-sides

20 Sep 2004 One For The Road 75 Live album taken from their 2004 summer festival tour
8 May, 2006 Live Acoustic at the Jam House 73 Live album from a Birmingham acoustic gig in mid-February 2006
17 Dec 2006 Live At Birmingham Academy N/A Live album from a Birmingham Carling Academy gig on 17 December 2006.
26 Feb 2007 BBC Sessions N/A Compilation of live performances taken from 1990-1997 on BBC Radio 1.
Released as exclusive download from iTunes and later on CD
13 Aug 2007 The Collection N/A An unofficial compilation released on the Spectrum label.

UK singles

1 Sep 1990[2] “Sway” N/A
1 Mar 1991[2] “Yesterday Today” 49
1 Feb 1992[2] “Sway” (reissue) 88
1 Mar 1992[2] “Giving It All Away” 83
1 May 1992[2] “Do Yourself A Favour EP” 94
5 Feb 1996 “The Riverboat Song” 15
25 Mar 1996 “You’ve Got It Bad” 7
3 Jun 1996 “The Day We Caught the Train” 4
16 Sep 1996 “The Circle” 6
16 Jun 1997 “Hundred Mile High City” 4
25 Aug 1997 “Travellers Tune” 5
10 Nov 1997 “Better Day” 9
16 Feb 1998 “It’s a Beautiful Thing” 12
23 Aug 1999 “Profit in Peace” 13
15 Nov 1999 “So Low” 34
26 Jun 2000 “July” 31
26 Mar 2001 “Up on the Downside” 19
2 Jul 2001 “Mechanical Wonder” 49
21 Nov 2001 “Crazy Lowdown Ways” 64
30 Jun 2003 “I Just Need Myself” 13
25 Aug 2003 “Make the Deal” 35
29 Dec 2003 “Golden Gate Bridge” 40
7 Mar 2005 “Free My Name” 23
20 Jun 2005 “This Day Should Last Forever” 53
16 Apr 2007 “I Told You So” 34
9 Jul 2007 “I Just Got Over You” 112
15 Nov 2007 “Go To Sea” N/A

DVDs and videos

* 1997 Times of Our Lives [VHS] * 1998 Travellers Tune [VHS] * 2003 Filmed From the Front Row [DVD] * 2008 Live At The Town Hall [DVD]


Most band members have supported/collaborated with other artists during the group’s existence. Simon Fowler was one of the musicians involved in the official anthem for England’s World Cup campaign, for France 98. England United as they were named also included Echo & the Bunnymen, Space and The Spice Girls. “(How Does It Feel) To Be On Top Of The World” reached number 9 in the official UK charts. Steve Cradock and former member Damon Minchella played/played regularly with Paul Weller, with Cradock also playing recently on Amy MacDonald’s gigs

Special thanks to Keith Law  for content.

The Move

The Move

One of the most successful pop groups to come out of Birmingham in the 1960s in terms of British chart success, they were also the hardest to categorize musically as their style ranged from pop to psychedelic, progressive, heavy metal, 1950s style rock ‘n’ roll and even country and western. Above all, it was Roy Wood’s talent as a highly original songwriter that propelled the band on an extended chart run.
Many songs that Roy Wood composed for The Move in the first few years were considered by some to be drug inspired but in reality, a lot of his early lyrics were written while supposedly attending classes
at the Moseley School of Art while he was there as a student. Despite the groups’ controversial reputation and almost constant inner turmoil, The Move laid the foundations of what was to become one of the biggest and most successful rock bands of the 1970s.

The Move was formed in December of 1965 by Roy Wood from Mike Sheridan and The Nightriders, Carl Wayne, Chris “Ace” Kefford and Bev Bevan from the Vikings and Trevor Burton from the Mayfair Set. The original plan formulated by Burton, Kefford, and Wood was to start a group consisting of Birmingham’s supposedly best musicians and create a look and sound similar to The Who. The Cedar Club on Constitution Hill hosted late night jam sessions and it was there where the future Move members first got together on stage. Veteran Brum vocalist Carl Wayne was invited to be the front-man and Bev Bevan
was chosen as drummer (see Carl Wayne and The Vikings).

After a debut gig at the Belfry Hotel in Stourbridge and further bookings in the Birmingham area, Moody Blues manager Tony Secunda saw them and offered his services. Tony Secunda was one of the more controversial pop managers of the 1960s and his tactics were likely a big influence on future Sex Pistols’ manager Malcolm McLaren. Material performed on stage by the Move at this time included many covers of
American west coast groups such as The Byrds and Moby Grape as well as various Motown and rock ‘n’ roll classics. Although Carl Wayne handled most of the lead vocals, all the band members shared harmonies and each were allowed at least one lead vocal per show.

Tony Secunda secured The Move a season at London’s famous Marquee Club where they became known for their wild stage act which included flash bombs, smoke, and Carl Wayne using an axe to hack apart effigies of political figures and smashing up old TV sets. The ensuing notoriety soon helped to gain The Move a recording contract with Deram, a subsidiary of Decca Records and publicity-seeking Secunda made sure
that newspaper reporters were present when the band signed the contract on the back of a topless female model.

It was Tony Secunda who also pushed Roy Wood into writing songs for the band. Although his only previously published composition was a single B-side by the Nightriders, Roy came up with the inventive Night Of Fear for the Move’s first single. The song borrowed the catchy riff from the classical 1812 Overture and was released late in 1966 to reach No. 2 in the U.K. charts by early 1967.
This was soon followed by two more Roy Wood originals; the driving I Can Hear The Grass Grow (chart position No. 5), and the ultimate paisley-pop anthem Flowers In The Rain (chart position No. 2)
which also had the honour of being the first record played on the BBC’s new Radio One pop station.

The Move’s success ensured them regular radio and TV appearances. However, an ill-advised publicity stunt meant to capitalize on a current news tabloid scandal, resulted in promotional postcards being manufactured that had a cartoon of prime minister Harold Wilson shown in a compromising position with his secretary. The PM was not amused and he took the group and their manager to court, suing for libel and winning the case. This resulted in the song-writing royalties for Flowers In The Rain being confiscated and donated to charities of Wilson’s choice.

The Harold Wilson episode strained and ultimately ended the relationship The Move had with Tony Secunda and the band secured Don Arden as their new management. Don Arden already had a reputation as one of the toughest managers in the music business and one whose methods were regarded as quite controversial, although he had pushed a number a groups to success such as The Nashville Teens, The Small Faces, and Amen Corner.

In November 1967, The Move undertook a U.K. package tour that also included The Jimi Hendrix Experience,
The Pink Floyd and Amen Corner (the Move supplied backing vocals to the Jimi Hendrix Experience album
Axis Bold As Love on the track You Got Me Floatin’). The Move also released their first album and it reached No. 15 in the charts. Despite the success of their latest single Fire Brigade (chart position No. 3), all was not well in the band. Ace Kefford left The Move in early 1968, reportedly owing to nervous exhaustion and mental breakdown. He later formed his own band (see The Ace Kefford Stand ). Trevor Burton took his place on bass guitar and The Move now reduced to four members, continued recording and touring. (Note: a version of Fire Brigade was also recorded by the Brum group The Fortunes).

A new Move single Wild Tiger Woman, which had controversial lyrics, was released in July 1968 but did not chart thus becoming the group’s first failure. However, their next single, the majestic Blackberry Way, released at the end of 1968, got to No. 1 and became one of the classic songs of the era. In spite of this, Trevor Burton quit the band after an argument on stage with Bev Bevan during a show in Sweden.
Burton was quoted as saying he “hated” Blackberry Way and was fed up with playing disposable pop songs.
Burton joined a new line-up of the Birmingham band The Uglys with whom after the addition of Denny Laine and Steve Gibbons became known as Balls (see Balls). His place was taken by Rick Price from the Birmingham band Sight & Sound.

The next Move single, Curly, was not as strong as Blackberry Way but still made it to No. 12 in the charts and in late 1969, the band embarked on their first tour of the USA. The tour was not a big success, mainly due to lack of planning and promotion, for although The Move had a more serious ‘underground’ following in America, record sales there were small with the only airplay on alternative or college FM stations. On their return to the UK, they went, like many West Midlands bands before them, on the lucrative ‘cabaret’ circuit which was a likely cause of friction between vocalist Carl Wayne and the rest of the band. By this time The Move was again under new management from pop manager Peter Walsh who specialized in cabaret acts and had bought the group’s contract from Don Arden.

There were also disagreements within the band over who should sing lead vocal on the Move’s singles
and after the inevitable arguments, Carl Wayne left for a solo career. He went on to enjoy success as a cabaret singer and TV actor, even appearing on ITV’s Crossroads series and in various theatrical productions; a far cry from smashing televisions on stage with The Move. In 1999 Carl Wayne became lead vocalist for Manchester’s world-famous band The Hollies as replacement for Allan Clarke in that group.
Carl Wayne passed away on August 31, 2004 after a battle with cancer .

The Move once again came under Don Arden’s management and Roy Wood, now firmly in artistic control of the band, asked his friend Jeff Lynne from The Idle Race to join as Carl Wayne’s replacement (see The Idle Race). Lynne had previously been asked after Trevor Burton’s departure but had declined although this time he accepted the offer and the first Move single recorded with him entitled Brontosaurus, was released in April of 1970. To promote Brontosaurus, The Move appeared on TV with Roy Wood featuring outrageous clothes and facial make-up and thus pre-dating the “Glam Rock” era by a few years. The resulting publicity helped the single gain a No. 7 chart position.

Roy Wood and Jeff Lynne had an idea to form a new band that would incorporate classical instruments
and create a sound similar to what the Beatles had achieved on their innovative recording of I Am The Walrus. Wood and Lynne with the financial backing of Don Arden, set about recording an album based
on this concept and also discontinued playing live shows but in the meantime
were required by contract to continue releasing and promoting records by The Move.

The recording of the new “classical” album continued at a slow pace. Bass guitarist Rick Price left the group to join Mongrel after The Move stopped touring, but new Move singles Tonight and China Town were hits and the group continued to make appearances on TV shows like Top Of The Pops. After a final Move album Message From The Country, The Move’s last single California Man was released and reached No. 7 in the Charts in May of 1972. A b-side Do Ya, composed by Lynne, also became a minor hit in the USA,
oddly the only Move record to have any impact on the American charts. Finally, the new Roy Wood/Jeff Lynne/Bev Bevan album was finished and released under the name of The Electric Light Orchestra (name derived from the Midland Light Orchestra). A single from the album, 10538 Overture, made the top ten in the British charts and a national tour along with radio and TV appearances to promote the new band followed. The group by this time also included Richard Tandy (previously with The Uglys) on bass guitar, Bill Hunt (from Breakthru) on piano and french horn, cellists Andy Craig and Hugh McDowell, and Wilf Gibson on violin. The album was a critical success, but sold poorly due to the experimental nature of most of the songs. Jeff Lynne would later remark that much of it sounded like “a load of old dustbins falling down the stairs” though he has since acknowledged it as ground-breaking and innovative for that time.

The Wizzard: After reportedly falling-out with Jeff Lynne from differences in opinion over musical direction
and coupled with the difficulties in reproducing the Electric Light Orchestra sound live on stage,
Roy Wood left the group in early 1973. He soon formed a new band called Wizzard (see Mongrel) which included former Move member Rick Price, drummers Charlie Grima (see The Ghost) and Keith Smart (see The Uglys), saxophonists Mike Burney and Nick Pentelow, and fellow ELO defectors Bill Hunt on piano and Hugh McDowell on cello. After a successful debut at London’s Wembley Stadium, Wizzard shot to the forefront of the “Glam Rock” movement and released several top selling singles including two No. 1 hits in 1973; See My Baby Jive and Angel Fingers as well as the seasonal favourite I Wish It Could Be Christmas Everyday. Roy Wood’s chart success continued until the late 1970s and after several years of writing and producing for other artists, continues to perform today with his own Roy Wood Big Band as well as making regular appearances on local TV and radio.

Meanwhile, the Electric Light Orchestra (or ELO) now under Jeff Lynne’s control, along with remaining original Move member Bev Bevan, went on to become one of the most successful bands of the 1970s,
achieving hit records and multi-million selling albums worldwide. Managed by Don Arden, ELO’s spectacular success, particularly in the USA where they toured consistently and played to packed stadiums, continued into the 1980s. The group produced many classic recordings, all composed by Jeff Lynne,
such as Evil Woman, Telephone Line, Mr Blue Sky and Don’t Bring Me Down amongst many others. ELO disbanded in 1985 but Jeff Lynne continued to have behind-the-scenes success as songwriter and producer, helping to revive the careers of George Harrison, Roy Orbison and Tom Petty. He also formed the highly-acclaimed Traveling Wilburys with Harrison, Orbison, Petty and Bob Dylan and realized many a producer’s greatest ambition when he produced John Lennon’s Free As A Bird for the Beatles controversial “reunion” in 1995. He continues to be much-in-demand as a producer and songwriter of considerable talent and reputation. Jeff Lynne also finally went out on the road again in 2001 with a new ELO line-up and album.

After a brief stint in the legendary Brum heavy metal band Black Sabbath, drummer Bev Bevan formed the Electric Light Orchestra Part II in the late 1980s which included some former ELO members and featuring songs on stage made famous by the 1970s version of ELO. The group toured worldwide for about 10 years until Bev Bevan’s departure to become a part-time radio DJ and session player. Still based in Birmingham,
he has since performed with his own band and is currently touring with a new line-up of The Move that also includes original member Trevor Burton.

The Move:

Carl Wayne lead vocal (left 1970)
Roy Wood vocal, lead guitar, bass, cello, oboe
Ace Kefford vocal, bass guitar (left 1968)
Trevor Burton vocal, guitar/bass (left 1969)
Bev Bevan drums and vocal
Rick Price vocal, bass guitar (joined 1969 – left 1971)
Jeff Lynne vocal, piano, guitar (joined 1970)

Content recognition:
With special thanks to Keith Law

Nick Warburton is compiling and extraordinarily detailed list of Move gigs. We’ll keep it updated as Nick adds more:



22 January 1966 – Carlton Club, Erdington, West Midlands with The Hellions (Birmingham Evening Mail)

1 February 1966 – Club Cedar, Birmingham (Birmingham Evening Mail)
1 February 1966 – Carlton Club, Erdington, West Midlands (Birmingham Evening Mail) BOTH BILLED AS CARL WAYNE & THE MOVE
3 February 1966 – Club Cedar, Birmingham with Little Stevie Wonder (replaced P J Proby), The Sidewinders, The Sombreros and The Matadors (Birmingham Evening Mail) BILLED AS FEATURING CARL WAYNE
3 February 1966 – Elbow Room, Aston, West Midlands (Birmingham Evening Mail) BILLED AS FEATURING CARL WAYNE
5 February 1966 – Club Cedar, Birmingham with Doris Troy and Fantastic Bluesology Incorporated (Birmingham Evening Mail) BILLED AS FEATURING CARL WAYNE
10 February 1966 – Club Cedar, Birmingham (Birmingham Evening Mail) BILLED AS CARL WAYNE AND THE MOVE
10 February 1966 – Carlton Club, Erdington, West Midlands (Birmingham Evening Mail) BILLED AS FEATURING CARL WAYNE
12 February 1966 – Marquee and Whisky A Go Go, Navigation Street, Birmingham (Birmingham Evening Mail)
13 February 1966 – Club Cedar, Birmingham with Jeremy & The Heartbeats (Birmingham Evening Mail) BILLED AS FEATURING CARL WAYNE
15 February 1966 – Club Cedar, Birmingham with Inez and Charlie Foxx and Jeremy & The Heartbeats (Birmingham Evening Mail) BILLED AS FEATURING CARL WAYNE
16 February 1966 – Club Cedar, Birmingham (Birmingham Evening Mail) BILLED AS CARL WAYNE & THE MOVE
19 February 1966 – Club Cedar, Birmingham with Monopoly (Birmingham Evening Mail) BILLED AS FEATURING CARL WAYNE
20-21 February 1966 – Club Cedar, Birmingham with Doris Troy and Bluesology Incorporated (Birmingham Evening Mail) BILLED CARL WAYNE & THE MOVE
22 February 1966 – Club Cedar, Birmingham with Deke Arlon (Birmingham Evening Mail) BACKED DEKE ARLON FOR A WEEK AND BILLED AS THE MOVE FEATURING CARL WAYNE
24 February 1966 – Hereford Lounge, Yardley, West Midlands (Birmingham Evening Mail) BILLED AS FEATURING CARL WAYNE

5 March 1966 – Marquee Club, Birmingham with The Shakedown Sound (Birmingham Evening Mail)
5 March 1966 – Plaza Ballroom, Handsworth, West Midlands (Birmingham Evening Mail)
7 March 1966 – The Belfry, Wishaw, West Midlands with John Bull Breed and The Sombreros (Birmingham Evening Mail) BILLED AS FEATURING CARL WAYNE
16 March 1966 – Plaza Ballroom, Handsworth, West Midlands (Birmingham Evening Mail)
24 March 1966 – Carlton Club, Erdington, West Midlands (Birmingham Evening Mail)
26 March 1966 – Le Metro Club, Birmingham (Birmingham Evening Mail)
29 March 1966 – Carlton Club, Erdington, West Midlands (Birmingham Evening Mail)

1 April 1966 – Marquee, Wardour Street, Soho, London with Gary Farr & The T-Bones (Tony Bacon’s book: London Live) DEBUT
2 April 1966 – Plaza Ballroom, Handsworth, West Midlands with William’s Conquers (Birmingham Evening Mail) BILLED AS CARL WAYNE & THE MOVE
5 April 1966 – Chalet Country Club, Rednal, West Midlands (Birmingham Evening Mail)
7 April 1966 – Marquee, Wardour Street, Soho, London with The Mark Leeman Five (Tony Bacon’s book: London Live)
9 April 1966 – Le Metro Club, Birmingham (Birmingham Evening Mail)
18 April 1966 – Club Cedar, Birmingham with Cleo Laine and Danny King (Birmingham Evening Mail)
19 April 1966 – Tito’s Club, Handsworth, West Midlands (Birmingham Evening Mail)
20 April 1966 – Lyndon, Sheldon, West Midlands (Birmingham Evening Mail) BILLED AS CARL WAYNE & THE MOVE
23 April 1966 – Ritz Ballroom, King’s Heath, West Midlands with The Steampacket Show (Birmingham Evening Mail)
26-27 April 1966 – Club Cedar, Birmingham with D D Warwick (Birmingham Evening Mail) WARWICK REPLACED BY DAKOTA STATION AND JOHNNY PATRICK TRIO?
28 April 1966 – Hereford Lounge, Yardley, West Midlands (Birmingham Evening Mail)

1 May 1966 – Plaza Ballroom, Handsworth, West Midlands with The Craig (Birmingham Evening Mail)
1 May 1966 – Ritz Ballroom, King’s Heath, West Midlands with The Craig (Birmingham Evening Mail)
2-3 May 1966 – Club Cedar, Birmingham with Julie Grant, Danny King and Deep Feeling (Birmingham Evening Mail)
6 May 1966 – West End Club, Coalville, Leicestershire with Listen (Leicester Mercury) BILLED CARL WAYNE & THE MOVE
13 May 1966 – Marquee, Wardour Street, Soho, London with Sands (Tony Bacon’s book: London Live)
27 May 1966 – Marquee, Wardour Street, Soho, London with Sands (Tony Bacon’s book: London Live)

2 June 1966 – Marquee, Wardour Street, Soho, London with The Triad (Tony Bacon’s book: London Live)
23 June 1966 – Marquee, Wardour Street, Soho, London with The Rift (Tony Bacon’s book: London Live)

6 July 1966 – Clue Cedar, Birmingham with The Stringbeats and The Nightriders (Birmingham Evening Mail)
7 July 1966 – Marquee, Wardour Street, Soho, London with Sands (Tony Bacon’s book: London Live)
9 July 1966 – Dungeon Club, Nottingham (
10 July 1966 – Dereham Tavern, Dereham, Norfolk with Ian & Danny Eves with Sounds Reformed (Eastern Evening News)
14 July 1966 – Marquee, Wardour Street, Soho, London with Bluesology (Tony Bacon’s book: London Live)
16 July 1966 – Birdcage, Eastney, Hampshire (Dave Allen research)
21 July 1966 – Marquee, Wardour Street, Soho, London with The Ultimate (Tony Bacon’s book: London Live)
22 July 1966 – Birdcage, Eastney, Hampshire (Dave Allen research)
26 July 1966 – Chalet Country Club, Rednal, West Midlands (Birmingham Evening Mail)
28 July 1966 – Marquee, Wardour Street, Soho, London with The Herd (Tony Bacon’s book: London Live)

2 August 1966 – Birdcage, Eastney, Hampshire with Jimmy James & The Vagabonds (Dave Allen research)
4 August 1966 – Marquee, Wardour Street, Soho, London with Sands (Tony Bacon’s book: London Live)
11 August 1966 – Marquee, Wardour Street, Soho, London with Bluesology (Tony Bacon’s book: London Live)
13 August 1966 – Birdcage, Eastney, Hampshire (Dave Allen research)
18 August 1966 – Marquee, Wardour Street, Soho, London with Sands (Tony Bacon’s book: London Live)
20 August 1966 – Co-op, Rainbow Suite, Birmingham with Bent Society (Birmingham Evening Mail)
25 August 1966 – Marquee, Wardour Street, Soho, London (Tony Bacon’s book: London Live)

3 September 1966 – Starlight Ballroom, Boston Gliderdrome, Boston, Lincolnshire with Zuider Lee and Ray King Soul Band (Lincolnshire Standard)
8 September 1966 – Marquee, Wardour Street, Soho, London with MI5 (Tony Bacon’s book: London Live)
11 September 1966 – Nottingham Boat Club, Nottingham (Down at the Boat book)
15 September 1966 – Marquee, Wardour Street, Soho, London with The Bo Street Runners (Tony Bacon’s book: London Live)
16 September 1966 – Jigsaw, Manchester (Manchester Evening Mail)
17 September 1966 – Dreamland Ballroom, Margate, Kent (Melody Maker)
19 September 1966 – Ricky Tick, Hounslow, Middlesex (Melody Maker)
22 September 1966 – Marquee, Wardour Street, Soho, London with Julian Covey & The Machine (Tony Bacon’s book: London Live)
23 September 1966 – Birdcage, Eastney, Hampshire (Dave Allen research)
29 September 1966 – Marquee, Wardour Street, Soho, London with The Syn (Tony Bacon’s book: London Live)
30 September 1966 – Birdcage, Eastney, Hampshire (Dave Allen research)

6 October 1966 – Marquee, Wardour Street, Soho, London with The Embers (Tony Bacon’s book: London Live)
7 October 1966 – Birdcage, Eastney, Hampshire (Dave Allen research)
13 October 1966 – Marquee, Wardour Street, Soho, London with Sands (Tony Bacon’s book: London Live)
14 October 1966 – Birdcage, Eastney, Hampshire (Dave Allen research)
15 October 1966 – Leeds University, Leeds (Fabulous 208)
20 October 1966 – Marquee, Wardour Street, Soho, London with Bluesology (Tony Bacon’s book: London Live)
21 October 1966 – Birdcage, Eastney, Hampshire with The Action (Dave Allen research)
21 October 1966 – The Marquee Show, Fairfield Hall, Croydon, Surrey with The Spencer Davis Group, Jimmy James & The Vagabonds, Wynder K Frog, The Herd and The VIPs (Chris Broom book: Rockin’ and Around Croydon)
22 October 1966 – Chemsford Corn Exchange, Chelmsford, Essex with support (Southend Standard)
27 October 1966 – Marquee, Wardour Street, Soho, London with The Good-Goods (Tony Bacon’s book: London Live)
28 October 1966 – Birdcage, Eastney, Hampshire (Dave Allen research)

4 November 1966 – Walsall Town Hall, Walsall, West Midlands with New Vaudeville Band, The Staffords and The Ambassadors (Express & Star)
5 November 1966 – Hull University, Hull (Fabulous 208)
6 November 1966 – Jigsaw, Manchester (Manchester Evening News and Chronicle)
9 November 1966 – Orford Cellar, Norwich (Eastern Evening News)
17 November 1966 – Marquee, Wardour Street, Soho, London with Dave Antony’s Moods (Tony Bacon’s book: London Live)
19 November 1966 – King Mojo, Sheffield with Ben E King (The Star)
24 November 1966 – Marquee, Wardour Street, Soho, London with Roscoe Brown Combo (Tony Bacon’s book: London Live)
25 November 1966 – The Thing, Oldham, Greater Manchester (Oldham Evening Chronicle)
26 November 1966 – Durham University, Durham (Fabulous 208)

3 December 1966 – Smethwick Baths, Smethwick, West Midlands with Heat Wave (Birmingham Evening Mail)
4 December 1966 – Belle Vue, New Elizabethan, with The Klyx (Manchester Evening News and Chronicle)
11 December 1966 – Dungeon Club, Nottingham (Nottingham Evening Post)
15 December 1966 – The Speakeasy, W1, London (Fabulous 208/Mick Capewell’s Marmalade Skies website) OPENING NIGHT

1 January 1967 – Upper Cut, Forest Gate with The Mack Sound (Melody Maker)
6 January 1967 – Civic and Wulfrun Halls, Wolverhampton, West Midlands with The ‘N’ Betweens, The Soul Seekers, Parchment People and Prim ‘N’ Proper (Express & Star)
7 January 1967 – Cliffs Pavilion, Southend, Essex with The Fingers and The Tender Trap (Southend Standard)
8 January 1967 – Starlite, Greenford, Middlesex (Melody Maker)
18 January 1967 – Stevenage Mecca, Locarno, Stevenage, Hertfordshire (’s_music_scene.htm)
26 January 1967 – Salisbury City Hall, Salisbury, Wiltshire with Soul Foundation (Hold Tight book)
27 January 1967 – Dungeon Club, Nottingham (

2 February 1967 – Worthing Pavilion, Worthing, West Sussex (Record Mirror)
3 February 1967 – Tiles, Oxford Street, London with The Gods (Melody Maker)
4 February 1967 – Watford Trade Hall, Watford, Hertfordshire (Record Mirror)
5 February 1967 – Flamingo, Soho (Record Mirror)
6 February 1967 – Bath Pavilion, Bath (Record Mirror)
9 February 1967 – Locarno, Coventry, West Midlands (Record Mirror)
10 February 1967 – Top Spot, Ross on Wye, Herefordshire (Record Mirror)
11 February 1967 – Manchester University (Record Mirror)
12 February 1967 – 2X2 Club, Halifax, West Yorkshire (Record Mirror)
12 February 1967 – King Mojo, Sheffield, South Yorkshire with The Amboy Dukes (The Star)
13 February 1967 – Town Hall, High Wycombe, Bucks (Record Mirror)
14 February 1967 – Lotus Ballroom, Forest Gate (Record Mirror)
16 February 1967 – Skyline Ballroom, Hull, Humberside with The Mandrakes, The Dawn Breakers and Birds Groove (Hull Daily Mail)
19 February 1967 – Agincourt Ballroom, Camberley, Surrey (Aldershot News) CLUB REOPENED ON 12 FEBRUARY

4 March 1967 – Rhodes Centre, Bishop’s Stortford, Herts with Tracy’s Circles (Steve Ingless book: The Day Before Yesterday)
5 March 1967 – Saville Theatre, London (withdrew) (Record Mirror)
13 March 1967 – Adelphi Ballroom, West Brom, West Midlands (Birmingham Evening Mail)
17 March 1967 – Tiles, Oxford Street, London with Tiles Big Band and the Knack (Melody Maker) 1ST BIRTHDAY PARTY
26 March 1967 – Oasis, Manchester (Manchester Evening News and Chronicle)
26 March 1967 – Drokiweeny, Manchester (Manchester Evening News and Chronicle)

8 April 1967 – Leas Cliff Hall, Folkestone with The Couriers (Folkestone & Hythe Gazette)
8 April 1967 – Video-London, Wolverhampton, West Midlands (Express and Star) MIGHT JUST BE AUTOGRAPH SIGNING
9 April 1967 – Cadillac Club, Brighton, West Sussex (Melody Maker)
14 April 1967 – Brighton Arts Festival, Brighton, West Sussex with Paul Jones, Mike Stuart Span, Geno Washington, Jimmy James & The Vagabonds, Cliff Bennett & The Rebel Rousers and others (Melody Maker)
15 April 1967 – Birdcage, Eastney, Hampshire with The Academy (Dave Allen research)
24 April 1967 – Belfry, Wishaw, West Midlands with Monopoly and Orange Pips (Birmingham Evening Mail)
29 April 1967 – Wellington Club, Dereham, Norfolk with Rubber Band and Deep Purple (Eastern Evening News/North Norfolk News) OPENS THE CLUB

3 May 1967 – Bromel Club, Bromley Court Hotel, Bromley, Kent (Melody Maker)
6 May 1967 – Civic Hall, Nantwich, Cheshire with The Denims (Crewe Chronicle)
8 May 1967 – Silver Blades, Streatham (Mick Capewell’s Marmalade Skies/Sutton & Cheam Advertiser)
12 May 1967 – Cheltenham Town Hall, Cheltenham with Gopler and Mark Raymond Sound (Gloucestershire Echo)
13 May 1967 – California Ballroom, Dunstable, Bedfordshire with The Winds of Change and The Associates (website:
27 May 1967 – Hastings Pier, Hastings, East Sussex with The Flashbaks (Roger Bistow’s research at Dizzy Tiger Music website)

17 June 1967 – Toft’s, Folkestone, Kent (Melody Maker)
18 June 1967 – Sunday Club, Swan, Yardley, West Midlands (Coventry Evening Telegraph)
19 June 1967 – Trinity and St John’s Oxford with Manfred Mann, Bonzo Dog Doo Dah Band, John Barnett & His Band and West Indian Steel Band (Cherwell)
24 June 1967 – Dreamland, Margate, Kent with Just Too Much (East Kent Times & Mail)

11 July 1967 – Marquee, Wardour Street, Soho, London with Winston’s Fumbs (Tony Bacon’s book: London Live)
24 July 1967 – Stevenage Mecca, Locarno, Stevenage, Hertfordshire with Cortinas (’s_music_scene.htm)

2 August 1967 – Flamingo, Redruth, Cornwall with The Onyx (West Briton & Royal Cornish Gazette)
21 August 1967 – Queen’s Ballroom, Wolverhampton, West Midlands (Express & Star)
26 August 1967 – California Ballroom, Dunstable, Bedfordshire with The Hand and The Extreme (website:
28 August 1967 – Pynkney Hall Blues Festival, Fakenham, Norfolk with Cliff Bennett & The Rebel Rousers, Alan Bown, Family and The Workshop

4 September 1967 – Silver Blades, Streatham (Mick Capewell’s Marmalade Skies)
16 September 1967 – Spa Royal Hall, Bridlington, East Riding of Yorkshire with Tall Storey and Colours Purple (Hull Daily Mail)
19 September 1967 – Marquee, Wardour Street, Soho, London with Timebox (Tony Bacon’s book: London Live)
30 September 1967 – Plaza Ballroom, Bearwood, West Midlands (Express & Star)

1 October 1967 – Starlight Ballroom, Crawley, West Sussex with Jo Jo Gunne (Crawley Advertiser)
7 October 1967 – Plaza Ballroom, Bearwood, West Midlands (Express & Star)
9 October 1967 – Queen’s Ballroom, Wolverhampton, West Midlands with Out of The Blue (Express & Star)
12 October 1967 – Ritz, Bournemouth, Dorset (Bournemouth Evening Echo)
13 October 1967 – Lewes Town Hall, Lewes, West Sussex (Sussex Express)
15 October 1967 – Drokiweeny, Manchester (Manchester Evening News and Chronicle)
21 October 1967 – Gaiety Ballroom, Ramsey, Cambridgeshire with The Trax and Soul Security Corporation (Website:
24 October 1967 – High Wycombe Town Hall, High Wycombe, Bucks (Bucks Free Press)
27 October 1967 – Adelphi Ballroom, West Bromwich, West Midlands (Express & Star)

26 December 1967 – Civic Hall, Nantwich, Cheshire with The B-Jays and Frankie & The Countdowns (Crewe Chronicle)

27 January 1968 – Hastings Pier, Hastings, East Sussex with Shades of Black (Roger Bistow’s research at Dizzy Tiger Music website)

3 February 1968 – Plaza Ballroom, Bearwood, West Midlands (Birmingham Evening Mail)
8 February 1968 – Sophia Gardens, Cardiff, Wales with St Valentine’s Massacre and Bonzo Dog Doo Dah Band (Ron Goodway)
27 February 1968 – Marquee, Wardour Street, Soho, London with The Attack (Tony Bacon’s book: London Live)

5 March 1968 – High Wycombe Town Hall, High Wycombe, Bucks (Bucks Free Press)
23 March 1968 – Adelphi Ballroom, West Bromwich, West Midlands (Express & Star)

1 April 1968 – Belfry, Wishaw, West Midlands with The Idle Race and The Exchequers (Birmingham Evening Mail)
8 April 1968 – Silver Blades, Streatham (Coulson & Purley Advertiser)
12 April 1968 – Carlton Club, Warrington with Bits (Warrington Guardian)

4 May 1968 – Imperial Ballroom, Nelson, Lancashire (Steve Chapples research:
17 May 1968 – Clockwork Orange, Chester, Cheshire with The Magic Box (Crewe Chronicle)
25 May 1968 – Kursaal Ballroom, Southend, Essex with Crocheted Doughnut Ring (Southend Standard)

14 June 1968 – California Ballroom, Dunstable, Bedfordshire with supporting groups (website:

13 August 1968 – Torquay Town Hall, Torquay, Devon (Western Evening Herald)

2 September 1968 – Bluesology Festival, Chateau Impney, Droitwich, Worcestershire with Fleetwood Mac, Chris Farlowe & The Thunderbirds, The Freddy Mack Show and Family (John Combe book)
21 September 1968 – Starlight Room, Boston Gliderdrome, Boston, Lincolnshire with Yes and Forever Changes (Lincolnshire Standard)
21 September 1968 – New Centre Hall, Manchester with The Impact (Manchester Evening News and Chronicle)
25 September 1968 – Tavistock Town Hall, Tavistock, Devon (Western Evening Mail)

11 October 1968 – Kew Boat House, Kew, Middlesex (Richmond & Twickenham Times)
11 October 1968 – Coronation Hall, Kingston Upon Thames, Surrey (Kingston and Malden Borough News)
26 October 1968 – Plymouth Guildhall, Plymouth, Devon with Frozen Tear (Western Evening Mail)

1 November 1968 – King’s College, Strand, London with Lemon Tree and Heart ‘N’ Souls (Melody Maker)
8 November 1968 – Rag Charities Ball, Hotel Metropole, Brighton, West Sussex with Spooky Tooth, Wynder K Frog, Honeybus and Chicken Shack
9 November 1968 – Marine Ballroom, Lyme Regis, Dorset (Dorset Evening Echo)

6 December 1968 – Borough Assembly Hall, Aylesbury, Bucks (

3 February 1969 – Silver Blades, Streatham (Mick Capewell’s Marmalade Skies)
20 February 1969 – Imperial College, Charity Concert, Royal Albert Hall with The Spencer Davis Group, Status Quo, East of Eden and The Nashville Teens (Melody Maker)

23 March 1969 – Redcar Jazz Club, Redcar, North Yorkshire with Ruby James & The Sound Seekers (Dennis Weller, Chris Scott Wilson and Graham Lowe’s book)

24 May 1969 – Royal Links Pavilion, Cromer, Norfolk with Eyes of Blond and Uncle Rufls Band (Julie Fielder book: What Flo Said Next)

24 August 1969 – Hastings Pier, Hastings, East Sussex (Roger Bistow’s research at Dizzy Tiger Music website)

6 September 1969 – Starlight Room, Boston Gliderdrome, Boston, Lincolnshire with The Applejacks (Lincolnshire Standard)

20 December 1969 – California Ballroom, Dunstable, Bedfordshire with two supporting groups (website:

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