Are you a Mod or a Rocker ? - 1963

Pass the test ! (but we won't divulge our results !!)

thanks to Alvaro & Mocky Dimples for this early article from Motor Cycle magazine Dec. 1963

Elegancia 1964

Alvaro & Mocky Dimples have sent these great scans of a Spanish magazine called Blanco y Negro dated 11th July 1964.

Thanks !

London Shopping

Back in 1965, US magazine Teen’s Robyn Guest tries to catch what’s left of mod and follow a girls' trio through the streets of London.

Silly article, nice pics.

Christine Rout, Susanne Frost and Louise Freeman are our guides …

CARNABY STREET : A quaint narrow strip of stores that caters to the very get-ahead crowd. This is where the teens trample over each other ever shopping day to buy what they can afford in the latest Mod styles.

Boy-watching is just as popular as window-shopping, at least it seems so for Louise.

The Stephen House caters to record fans as well as to gals who buy the Mod clothes.

Well, let’s have a closer look. HER CLOTHES inside a store for HIS CLOTHES.
Why not ?

It’s common for boys to shop with their girlfriends. Each selects the other’s clothing.

“It’s as much fun to look at the boys’ clothes as it is our own. Lots of times I’ve gone shopping just looking at what the male side of our sex is wearing. That way we can tell which boys are ‘in’ when we meet them at parties or other places.”

(Which shows how Mod logic works.)

Stagger Lee

The Isleys, London mods and a gun ...

Blues in England - Part Two

T-Bone Walker
Live at the Klooks Kleek 1965

by Tony Lennane - From Blues Unlimited - April 1965 Issue

Just a few weeks short Klooks from West Hampstead station is the Railway Hotel, home of Klooks Kleek, a rather posher-than-usual R n’B club.

It is located on the first floor, bars and carpets everywhere: not the kind of place I would have expected to see T-Bone Walker.

See him I did.

This was one of Klooks better nights. By nine pm it was quite packed, though little known to the present generation of beat enthusiasts, there was quite a lot of genuine appreciation evident that night. It was March 9^th; the doors were opened at 8.00 pm and we were allowed in for a very reasonable 7/- (how do they manage it ?)

Our first entertainers, and entertain they did, were the “Bluesbreakers” led by John “heart and soul in my music” Mayall, a true musician deeply involved in the true traditions of the American Negro.

I feel just recognition should be given where it is rightly due. Here is a man who knows the music, in fact a true enthusiast of the pure blues, definitely the best group we are fortunate in having here in Britain.*

After having been told of T-Bones appearance having been set for a full hour at the end of the evening between 10 and 11 pm, he appeared without warning at approximately 9 o’clock for the first of the two sets of the day.

First we were to be impressed by a five-minute guitar instrumental which, though, simple in construction , had us all rockin’. Once again credit is due to the boys for a very able backing. T-Bone told me later “they have a true feeling for the blues”.

He liked the boys, as he explained later in the bar, over a gin and orange.

The highlights of the evening were the two numbers he featured on the “Original American Folk-Blues Festival” (Polydor LPHM 237-597), “I wanna see my baby” and “I’m in love”, both among my particular favorites by T-Bone.

Other exciting – if commercial – numbers to be performed for our eager ears included the rock classic of the fifties “Linda Loo”, originally recorded by the now unheard Ray Sharp, and “T-Bone Shuffle”, an item remembered from his Atlantic label employ.

After half-time in yonder bar we pushed our weary way to the front to find John Mayall running through a few popular R n’B items – “My Babe” etc…etc…etc… T-Bone appeared to back John for a few numbers before taking the spotlight himself.

To end the night of unforgettable music we were given a form of Hooker-cum-Reed-cum-Walker “Boogie Riff”. It took 4 encores and nigh on twelve minutes before he finally disappeared behind the door, to appear very briefly with a bow and a broad smile.

This was a night never to be forgotten, and for Klooks Kleek I sincerely hope, a paying one.

More performances by visiting US artists to such as the Kleek club will undoubtedly bring out the best in all of them, thus rewarding the bluesophile with better than the average shows.

T-Bone’s tour of Britain proves to be quite comprehensive, as he is taking in all 3 TV channels and travelling from his London hotel (The Imperial) to perform everywhere from

the Cliffs Pavilion Southend to

the Regency Ballroom Bath, via

Market Hall, St. Albans,

Club-A-GoGo, Newcastle;

Dungeon Club, Nottingham;

Twisted Wheel, Manchester;

The Whiskey-A-GoGo, Birmingham;

Ricky Tick, Windsor;

Doghouse Club, Harrow;

Crawdaddy, Richmond

and many other colourful places with such names as

Cooks Ferry Inn,

Concord South Bank Jazz Club,

Public Hall,

Chelsea College and

Trade Union Hall !

Quite a selection ……

T-Bone spent two evening in full rehearsal with his group at the Marquee Club in Wardour St., London prior to his opening night at the Flamingo, which lacked the spark of his Klooks performance, a night that ignited a blaze of new interest in one of the greatest of old time bluesmen.

* Note that, as the “Bexhill Observer” so rightly says, “Any opinions stated by our correspondents do not necessarily reflect those of the editorial staff.” So don’t plague us with letters (as once happened).

Young Londoners

by Jane Wilson - from Len Deighton's London Dossier

Young Londoners fall into two main groups which are divided by the usual distinctions of age, occupation and money.

First there are the teenagers, referred to generically as ‘mods’. Clearly some are modder than others, but if you watch the crowd scenes in the various television programmes devoted to pop, you will get the general idea of the current fashions in this group. (Boys on these programmes whose fancy dress appears to be fancier than most, and girls of immodest appearance, are probably not mods at all but specially hired to give colour to the proceedings.) Mods like to look as much like one another as possible, and their girls are rather demure. Elder mods are sometimes as old as twenty-two. No one knows what happens to old mods because we haven’t had a whole generation of them yet. Presumably they marry, have children, and settle down to form the backbone of England.

Mods continue to earn more than their parents ever did when young, and they spend their money almost exclusively on pop records and clothes. The correct attitude in this group is exceedingly cool, almost blank. The young girls may scream occasionally at the pop group of their choice, and the boys may have the odd Saturday night or Bank Holiday punch-up, but emotional behaviour or any kind of frolicking is otherwise unseemly. They are not strictly chaste – but the girls are preparing for a white wedding. Mods don’t go to bistros, they prefer the Gold Egg type of restaurant. Wherever you see gigantic orange light fittings and décor which looks like one huge fruit machine, you will know that the mods are inside eating square meals in round buns. Mods’ night-life ends around midnight during the week. They have nine-to-five jobs and live at home, so they don’t go to the expensive late-night discothèques.

The mods are responsible, as principal consumers, for the progress of pop music, and the tabernacle and heart of London’s blood music is the Marquee Club at 90 Wardour Street, w1. The entrance is murky and the air inside is hot, damp and salty. If you really like pop music and can survive in unconditioned air, you should investigate this place…

… The Marquee moved about three years ago from its old premises in Oxford Street to this new larger outfit.

In Oxford Street they used to announce every night how many people were in the club ‘LADIES AND GENTLEMEN – TONIGHT, AN ALL-TIME RECORD! THERE ARE 874 OF US IN HERE!’

The Stones, in the days when they really were dirty, had their first central London club engagement at the old Marquee. Rhythm’n Blues in England began there with the late Cyril Davis, who died a few years ago from pneumonia after being stranded in the rain on the way to a gig somewhere.

His music was much harsher and harder than anything around now, and the Marquee then was not exactly fashionable. There were always a lot of old, ugly and unexplained people around.

Some nights the rucksack-beard-and-bedding-roll group would arrive from hitchin in some unknown Thumb Country, and there was usually a sort of habitué circle of Negroes with hip flasks dancing in front of the bandstand.

The Negroes have moved on now to the Flamingo and All-Nighter Club in Lower Wardour Street, home of Georgie Fame & The Blue Flames, and Zoot Money and The Big Roll Band.

The hitch-hikers have disappeared altogether from the beat-club scene. They were the extremist end of the Rocker tribe, which is now almost extinct. But you can still see nomads in Trafalgar Square outside the National Gallery on a summer afternoon.

They are filthy and hairy and lost, and they sit there nursing their blistered feet after a trek from god knows where. Most of them grow out of it and get over it, but they suffer for their art and make a change sometimes from the neat little mass-produced mods.

These mods, the ones who care more about The Look than The Sound, congregate nightly at a place called Tiles just a block down Oxford Street from Tottenham Court Road.

The music of Steve Darbishire and The Yum Yum Band, or of Everett of England, or the Anteeks, is relayed out into the street via speakers placed in neighbouring shop doorways.

Inside they dance actively, and spend their money in the night-time shops built in the maze of corridors that surround the main dance floor. The birds’ clothes shop is called Plumage, and if you’re not a success on arrival you can nip in there and come out again in something new.

On nights when there’s no live music they still crowd near the bandstand and listen to the patter of the tiny DJ. But they dance less and inspect one another’s clothing more.

The girls gather in serious little groups and tell one another the price of things, and the boys go peacocking around catching their own reflections in the glass swing doors.

Wall-to-wall mirrors in this welter of narcissism would send the sales of plumage for both sexes up by 50 per cent – or bring the whole enterprise to a halt.

... to be continued

Blues In England - Part One

John Lee Hooker 1964
Contrasting reviews

John J. Broven

The incredulous, it seemed, had happened when it was announced that John Lee Hooker was to tour England this June. Armed with unbounded enthusiasm, (wot John, no rotten eggs!) we were apparently going to be treated to “the show of a lifetime”.

It was not to be.

Hooker started his tour on Monday, June 4^th at the Flamingo Club, after a perfunctory appearance at the Rediffusion Studios on “Ready Steady Go!”.

In the broiling atmosphere of this one-time modern jazz centre, we had a full two hours of synthetic rubbish from the Cheynes and John Mayall’s Bluesbreakers.
It was then learnt that Mayall would back Hooker, and despite protests to John Lee before the show, it was to be. Hooker appeared, and with Mayall’s organ and harmonica (yes! – he plays both at once!) striving for the limelight, he was content to strum his way through meaningless things like “Dimples”, “Boom Boom”, “Hi Heel Sneakers” and others.

In his whole act he only did two slow blues and of these, only “I’m In The Mood” came off to any degree. But most disappointing was that his guitar work was kept to a minimum.

Undaunted, I saw Hooker twice later in the tour at Guildford and again at the Flamingo, hoping for some improvement.
Apart from a magnificent “Late Hours At Midnight” at Guildford (in complete darkness and with Mayall on piano), his original act hadn’t been transformed to any substantial degree.
What went wrong?

Why was one of the greatest living bluesmen transformed into an unexceptional R&B artist?

Obviously a lot of blame must go to whoever teamed Hooker with Mayall.

If he must have a group, OK, but not an organ! Also John appeared to be under the misconception that he was playing to a “pop” audience, judging by the stream of medium-tempo songs – which soon began to pall, being so alike.

Blues enthusiasts were definitely to the fore at the Flamingo, and if this wasn’t so elsewhere, wasn’t this the perfect opportunity to educate the uninitiated?

My opinion of Hooker has not fallen on account of this tour.

He has shown, in odd flashes, what a great bluesman he is. It’s just that this tour, for a blues lover, has been so badly presented, if financially a great success.

________________________________________________

Simon A. Napier

First a few words on JJB’s feature above. I expect many will disagree with John’s point of view; obviously there is justification in what he says, on the other hand arguments can be put against this viewpoint.

If you happen to feel like writing, by all means do.

It may be worth mentioning that John, Mike Leadbitter, Graham Ackers and yours truly took JLH along on June 2^nd to “Beat City” to see Chuck Berry, this of course two days before John’s tour opened.

Whatever, this could have had some effect on his act, seeing the audience reaction to Chuck.

Hooker is a fine man, but he is very aware of any commercial angles and willing to put them to good use if it turns out to his benefit

From Blues Unlimited – August 1964 issue

________________________________________________

… and another view from Graham Ackers from the September issue …

Cleveleys, Nr. Blackpool 8/7/64

Wednesday, July 8^th. John Lee Hooker played a most unlikely sounding venue at the Savoy Ballroom, Cleveleys. About 8.30 Dave Ward and I emerged from the bar and heard the last few numbers of the Groundhogs set. This group, previously unknown to us, was quite a surprise. They weren’t bad at all and instrumentally very like the originals.

Later they accompanied Hooker.

Then followed some noisy group of ruffians, who, after two verses of “What’d I Say” drove us barwise again!

We re-emerged slightly more amicable in frame of mind, soon dispelled by Georgie Fame and his mob. Admittedly they are technically quite adept, but what a bore the whole thing is!

We even had a Negro bashing some tom-toms, contributing less than nothing (!) – meant to add authenticity I suppose.

After this aural torture, Hooker came on to a very enthusiastic reception.

The message seems to have permeated to the far, windy shores after all.
He rolled straight into “Shake It Baby” with great power – perhaps a little too much – as a string broke after two verses!

Anyway, true to the maxim of all good showmen, he finished the number to great applause.

The next number he played with a Groundhog Fender – a somewhat unusual sight.

The Groundhog repaired his Gibson and finished the number with it.

Many followed including “Night Time Is The Right Time”, “Boom Boom”, “Hi Heel Sneakers”, “Dimples” (twice) and a blue version of “Tupelo”. This last was heavily requested and he was backed only with a bass guitar, which heightened the effect.

Every number was received with enthusiasm to such a degree that five encores were performed in all.

A special mention for the Groundhogs who throughout played admirably. All in direct contrast to the “let’s see who can play loudest” approach of John Mayall and crew.

In fact everything was just right – atmosphere, backing, amplification and temperature (compared to Tropical Flamingo conditions) and everybody, including Hooker and the Hogs, had quite a ball.

________________________________________________

John Lee Hooker – returned later that year for another tour …

Sheffield : King Mojo Club Memories

By John Smith (published in Soul Time fanzine)

Although it is not more than 30 years since the club closed down, the memories of the King Mojo Club in Sheffield are still fresh for the people who used to go there every week or every time that news about the Peter and Geoff Stringfellow brothers appear in the press.

The club was opened in 1964 by brothers Peter and Geoff. They were making a name for themselves thanks to the club and they were successful enough to attract the The Beatles for some shows. This success took them to sign similar bands and to promote gigs for the Rolling Stones and other British R &B bands.

The brothers were offered an old dancing hall, Day's Dance Hall, and they rented it for 30m pounds a week after refurnishing it. They choose the name Mojo after hearing the song "Got My Mojo Working" and the club soon attracted a new set of people who followed blues and soul music. It soon earned a great reputation because of the enthusiasm of the two brothers.

At the beginning, it only was open on Thursday, Friday and Saturday, but soon an allnighter was added on Saturdays, always with an American soul artist. On Sunday it was time for British R & B or soul bands, opening from 8pm until 11pm.

Sometimes, Pete and Geoff could not afford the money a great artist demanded, like Wilson Pickett, so they asked him to sing at 2am, after he had sung at a bigger club earlier the same evening. The artist always charged them less for doing so.

All-nighters began in 1965 with a one pound entrance fee and the sessions started at midnight. Soon, a regular crowd began to go, with people from Sheffield and nearby cities like York, Hull and Nottingham turning up. The meeting point was the Favorita Coffee Bar, in the centre of town. At 11pm everybody went to the Mojo and began to queue in order to ensure they were let in.

Of the two brothers, Peter was always the showman and he also liked to DJ. In 1963, ITV had started "Ready, Steady Go", where you could see lots of black artists like Major Lance, Otis Redding or Inez & Charlie Foxx. Peter Stringfellow enjoyed the programme so much that he went to the ITV offices to talk with one of the producers, Vicki Wickham. They gave Peter the task of entertaining the audience in the studio before filming began. He also controlled the dancers. He worked on “Ready, Steady, Go” for a year. During that time, every Thursday he travelled to London to the filming. Peter was supposed remain in the shadows, but he took every opportunity to be in front of the cameras while he was entertaining the crowd.

If you were a Mojo regular, Peter would give you tickets to the show, but I never took that offer because you had to spend a lot of time there on a Thursday and also to pay for the trip to London.

The Mojo soon changed its name to King Mojo. It was in Burngreave Road, with parking for cars and scooters. It was only one floor and it was quite small, with capacity only for 250 people, although it had a membership of 3,000. The record players were on the lefthand side of a stage that was only 25 feet long and 6 feet high. No alcohol was sold. The decor on the walls often changed too. At first, it was African warriors. Next, it changed to Pop-Art and then gangsters soon after and then, finally, it was flower power paintings.

The club’s policy was to play 95 per cent of soul music and some Blue Beat and ska. At the end, there was a record ("My girl, the month of May"- Dion) that was a well known flower power track. It was covered by The Alan Bown Set, one of the main English soul bands of the time, just because of the popularity that song had at the Mojo.

Some of the records that caused an impact at the all-nighters were things like "Love a go go" by Stevie Wonder, "You've been cheating" (Impressions), "Determination" by The Contours", "365 days" by Donald Height, "Oh baby you turn me on" by Willie Mitchell, plus the singles of the time from artists like Jackie Wilson, Homer Banks or Motown. The Artistics sounds “I’m gonna miss you” was the most important song: it meant the end of every all-nighter.

The best American artists played there: Ike & Tina Turner, Billy Stewart, Alvin Cash & the Crawlers, Ben E. King, The Spellbinders, Garnett Mimms and Stevie Wonder. The best English bands also were there: Geno Washington, Jimmy James & The Vagabonds, Chris Farlowe, Alan Bown Set, Georgie Fame, Zoot Money and Jimmy Cliff (who was then still in this soul phase). Even the Small Faces had one of their first gigs there.

The stage was opposite the dressing rooms, so when the club was crowded it was a problem for the artists to go up and down to the stage. The night Ike & Tina Turner were at the Mojo, they had to push their way to the stage with the three Ikettes and the 13 piece band. That helped creating an atmosphere for every show.

Peter was a real Yorkshireman. He wanted as much as he could from every band he signed. That’s why he sometimes encouraged the audience to block the way for the artists to the dressing room until they had performed a couple of more songs. That night with Ike & Tina Turner, they had to sing three more songs. Then, he asked the crowd to let them go to the dressing room. As the club had no air conditioning, sweat and condensation fell from the walls.

Around 1966 and 1967, having a great record collection was not important for your status. To be with the in crowd you had to wear the correct clothes: Mohair suits, Levi’s, brogues shoes, leather gloves… You also had to be good at the latest dances. Then, dances changed every seven or eight weeks. The best dancers performed on the stage. If you were brave enough, you could dance on a barrel that was close to the stage.

The only problem was that it was placed on the outskirts of the town and it was complicated to get there at night. Being out there also spelt the end for it. As it was surrounded by a residential zone, the neighbours complained. In a bid to stop the complaints, no more allnighters were organised. The last one was on April 15^st in 1967 with Geno Washington.

Alldayers were held on Sundays, along with live shows and more young people could go to the club. When it was clear that the police would not support a new license for the club, a show with Jimmy Cliff & The Shakedown Sound was prepared on September the 30^th in 1967. We had an incredible atmosphere. The next week it was time for the last show at the Mojo: an alldayer with Stevie Wonder. This time, lots of young people were able to go and that spoiled the atmosphere a bit.

Thanks to his status in the North and the Midlands, Peter Stringfellow was always required to spin in mod clubs. He used to DJ at the Dungeon in Nottingham. By doing that he could earn some money when the Mojo closed. Also, he ran new all-nighters for his loyal supporters at the Crystal Bowl Club. The Mojo crowd would go out to other clubs like the Nite Owl in Leicester, the Bin Lid in Dewsbury or the Twisted Wheel in Manchester.

The Stringfellow brothers did not leave the scene and opened new clubs. The old Mojo was turned into a Bingo hall and with the money from that deal, the brothers invested in a Sheffield basement. In another of their clubs, the Penthouse, they had problems with the license and they could not run all-nighters. Years later, in the 80’s, all-nighters could be held at the Penthouse. But by then, the Stringfellow brothers had nothing to do with that club.

Peter became a multimillionaire. In London he opened "Stringfellows", a place for the rich and famous. He also managed the great Hippodrome disco. From London, he went to the United States and the two brothers are still there in the club business. The old Mojo building was a Bingo hall until 1982, when it was demolished. Now, a modern apartment block of stands over what it was a legendary club.

The Mojo might be only a name from the past for the soul music fans of today, but I can say that the legend that was built around the Twisted Wheel in Manchester would have been smaller if it was not for the demise of the King of Clubs, the King Mojo of Sheffield.

The ads for the last all-nighter at the Mojo had nostalgic and funny lines:

And so it came to pass,

the great and famous

King Mojo All-Nighters

had to stop!

A wailing and crying as

never heard before over took

Britain's Mod Populous

And an the last one,

Saturday XV April MCMLXVII

multitudes of all needs gathed

(except the dreaded greasers)

and paid homage.

And from in their midst

came the great Prophet:

Geno Washington & His Ram Jam Followers

Special Thanks to Alex Maria Franquet

It's the Blue-Beat Craze !

A look at the latest craze to take the record industry by storm.

IT’S THE BLUE-BEAT CRAZE

Norman Jopling – Record Mirror February 15, 1964

The record industry thrives on new crazes and sounds. And at the moment three record companies are thriving on the Blue Beat craze which is just being taken up by the industry in general as a potential money spinner for all concerned

Just for the record, and for those who probably haven’t heard it yet, just what is blue beat?

Well, it’s a strictly Jamaican sound with a pulsating on-beat played on stop chords throbbing mercilessly through the disc. Most of the songs are down-to-earth items that don’t usually deal with love, and the tunes are strictly secondary to the beat.

The craze has been “in” with the Mods since last summer because of the marvellous dance beat and of course has been bought by the West Indians in Britain for many years now.

But it was only when the larger record companies heard of fantastic sales for such blue beat discs as “Madness”, “Carolina” and “Blazing Fire” that they realised it could mean something.

ORIGINS

Anyway, let’s take a look at the small blue beat companies – after all on of the attractions the music had to the Mods was that the music was exclusive to the smaller and virtually unknown labels.

Firstly there’s the Blue Beat label itself. Owned by Melodisc records run by Siggy Jackson this label was formed some two years back. It boasts many of the biggest blue beat artistes including Prince Buster, Derrick Morgan and The Folks Brothers.

“The blue beat rhythm itself was started by Prince Buster” says Siggy. “He had been singing in Kingston for a while, then he invented this new rhythm. His success since has been phenomenal. He has packed halls in Brixton and his “Madness” has sold over 120.000 copies. That’s our best seller that’s top of our own little chart. Other good discs for us are “Carolina” by the Folks Brothers and our new one “Tom Hark Goes Blue Beat”.

Although Buster invented the blue beat rhythm, I invented the name for our label.”

The other two blue beat companies don’t agree about the origins of blue beat. Both Island and R & B say that the rhythm has always been predominant in Jamaican music.

Island records is run by Chris Blackwell, an enterprising young white Jamaican who was fascinated by blue beat and started his own company here well over a year ago. His best seller is “Blazing Fire”, while another good one is “Housewives Choice”. Most of his numbers are recorded in Jamaica, unlike Melodisc who record here. But recently Island have been recording some of their best artistes here including one Millie, who had a disc recently issued by Fontana.

“So far all of our discs have sold well and we haven’t had one flop” Chris told me. “My aim is to see a blue beat disc in the charts – even if it was only at n° 50.”

Chris also owns two more labels. One is Sue, the great US R&B label which Chris bought when he was last in the States. Some of America’s best unissued R&B discs can now be obtained through this label. The other is Black Swan, more of a Calypso type label.

The other record company is R & B, the smallest of the three. Like Island they are selling very well still to the Jamaicans, while Melodisc are selling more to the Mods. Run by Ben Isen who also runs the R & B record shop in Stamford Hill, sales have been going up considerably. One of their top discs is “Orange Street”, an organ instrumental by Georgie Fame & The Blue Flames.

There are smaller companies, the ones who pioneered blue beat. How about the larger ones?

First of all, Decca has put out a disc called “The Blue Beat” by the Beazers. All of the small companies unanimously say “This isn’t blue beat, and if people think it is – it will do us harm”. The record itself is sung by Chris Farlow and backed by Cyril Stapleton. And no one anywhere seems to think it is blue beat. Decca are also reported to be leasing some tracks from Melodisc for release and next week will be recording some genuine blue beat groups to be put out on Decca.

PRIORITY

EMI are issuing two discs in February by Ezz Reco and the Launchers with Boysie Grant and Beverley as vocalists. This is a genuine blue beat group and if the discs are fairly successful EMI will be issuing more. But it is certainly an unprecedented step for a big record company to issue two discs by the same artiste within two weeks!

And so far no word from any other companies. So it looks as if the Blue Beat craze is destined to catch on in a big way with the two biggest record companies giving it top priority.

But once it starts breaking big nationally it looks as if the mods are going to have to find something more exclusive.

Keep your eyes open record companies…

Manchester - Roger Eagle 1985 Interview

Further to the interview conducted by The New Breed which was posted last month, we found this short interview done in 1985 that was published by a small Manchester fanzine “The Cat”.

Very interesting as well.

Spotlight on a DJ : Roger Eagle

Back in ’64 in Manchester, the clued-in dudes would be seen every Saturday sweating the night away at the Twisted Wheel club to the latest American black music supplied by their favourite DJ – Roger Eagle.

Over twenty years on, the Twisted Wheel is no more but Mr. Eagle is back in Manchester spinning R&B every Thursday night (9-12) at his club “The International”.

In this short interview Roger Eagle tries to help us revive those Twisted Wheel days …

How did you come to be DJ-ing at the Twisted Wheel ?

I walked in there one afternoon when it was the “Left Wing Coffee Bar” with a pile of Chuck Berry and Bo Diddley imports on Chess and Checker and this guy asked me if I knew anything about Rhythm’n’Blues.

Naturally I said yes, so he asked me if I wanted to dj.
I’d never DJ-ed before but I thought I’d take a shot at it and that’s how it started.

How did you cope DJ-ing for the first time ?

I didn’t really know what to do, I just put records on and I never used to say much. But the people who used to come down were really fanatical about sounds so if it was a good record they would know what it was within seconds, it was that kind of crowd.

Was you involved with the mod scene at that time ?

I suppose I was the dj the mods would listen to if they were going to clubs because the Wheel was the allnighter scene in Manchester. I wasn’t a mod myself but I thought it was fascinating that English kids were getting into American black music.

We started bringing the artists over and it was amazing to see people such as Howlin’ Wolf, Otis Redding, Rufus Thomas, Muddy Waters etc… getting the same sort of reception that normally only big pop stars got.

The only thing I don’t like about the mod scene is that some people are very narrow in their tastes, we were very broadly based when we started at the Wheel. It gradually narrowed down to Northern Soul which I think was a mistake.

Did you have live bands at the Wheel ?

Yeah, we used to get American artists over to play, people such as Chuck Berry, Screamin’ Jay Hawkins, T-Bone Walker, John Lee Hooker.

Muddy Waters and Howlin’ Wolf didn’t play but they did some live stuff for the local TV station.

We had loads of them down there all the time, Jimmy Reed used to sell out the place.

When Sonny Boy Williamson came over he freaked over English girls wearing mini skirts. He was wandering around looking up all the girls saying ‘Heaven Hath Come Down’.

He was probably the greatest harmonica player of them all, maybe even better than Little Walter, which is saying a lot.

How did you know Guy Stevens ?

We knew each other, we knew what we were doing, he used to send up records.

He came up once with Inez and Charlie Foxx. He gave me a Don & Dewey single ‘Stretchin’ Out’ and he mailed me an album by Frank Frost & the Nighthawks which was out on Sam Phillips ‘Phillips International”.

I used to go to the Scene club in Ham Yard before it was the Scene but I moved up to Manchester when the R&B thing started.

Where did you get your records at the time ?

Mostly I used to get them from American record companies or from a specialist import shop. I used to get records sent from the Stax label, Stan Axton the owner used to send me records.

I used to get records sent from Tamla Motown, Atlantic, Dual, Duke, Sunset, Songbird, Backbeat and all those kind of labels.

Roughly, what would be the Twisted Wheel top ten in 1964 ?

The favourite record of all time at the Wheel was ‘It Keeps Raining’ – Fats Domino. That was probably the most played record, then you would go to something like ‘Walking The Dog’ – Rufus Thomas.
Then you could go to any one of a dozen Muddy Waters records, probably something fairly obvious such as ‘Tiger In Your Tank’. The next on the list would be ‘That’s What I Want To Know’ – James Carr, then one of Bobby Blue Bland’s ‘Turn On Your Lovelight’.

Then would come ‘Amen’ by the Reverend Robinson and ‘Long Distance’ by Garnell Cooper and the Kinfolks which was one the rare unknown ones that we played a lot. You could pick on any one of a dozen records by Booker T & The MG’s, probably one of the more up-tempo ones such as ‘Can’t Be Still’ or something like that. There was always plenty of records from the Stax label in the top ten and also there was quite a lot of Tamla Motown floating around in there as well.

But there was not quite so much Tamla Motown as people like to think. I didn’t play that much Motown or Spector stuff just because it was so widely available and the chart stuff.

I was playing gospel stuff, but after 4 years at the Wheel it was down to that one fast Northern Soul dance beat which I tough was very boring and that’s why I left in mid ’67.

(both photos courtesy of The New Breed)

Changing Faces

The Sunday Times Colour Magazine –August, 2 1964

CHANGING FACES

They have been called the « anti-hoorays ».

« But you can tell us by the way we walk – feet out », said one Mod.
« Rockers are hunched. We hope to stay smart for ever, not shoddy like our parents. »

Photographs by Robert Freeman. Report by Kathleen Halton

« Next year it will be dead. Fellows of 15 and 16 are giving it a bad name : It’s these scooter Mods who live and die in their anoraks. They go down to the coast, hang around and then, there’s trouble. » the speaker is Jack, 18, who works on a building site.

But Denzil (see cover), also 18, says, « You go down to the sea because you get bored. The summer comes around, you keep saying you’re going to do something different – go to Jersey or do a season. You keep saying you’re going to do something about it. Then all of a sudden it’s september again.


« Once you’ve got to 20 you consider yourself a bit old-mannish. If you’re a bit juvenile, you can get away with it. But you know yourselfyou’re getting on, you’re going to be left out of things. » Denzil (above) livesin Streatham where his father is a garage mechanic.

He says things used to be lively in Streatham « till the kids started going up to the West End and getting introduced to the pills, getting edgy and argumentative. There’s a lot of lying when you get ‘blocked’ – the number of girls you get in a week, the price of your suit. But the drug kick is dying out a bit. »

















« Most of these real beaty girls are only looking to boys for companionship. They’re sexually dumb. » says Eric Burdon (one of the Animals). A boy may like a girl he meets at the Scene club in Soho. But she comes from Hounslow and he comes from Purley so the make their own way home.
Most Mods live with their families –« I don’t tell my parents I go up to the West End, » said one girl. « I mean, would you let your daughter do it ? » « Not very many go steady these days, » says Ted, who is a ‘leader’.

« That’s mostly Rockers. There’s nothing else for them to do, no dancing. Very few girls are worth taking out more than once. » Denzil says « The fellow’s got to like a girl a lot to have her around with his friends. Of course you get the all-night parties. Jumping around to a gramophone. Then all of sudden you get tired, and go to sleep. »

« American styles are out, like Madras cotton jackets and Seven and Sixes – that’s the name we give to baby Mods who’re still wearing these 7s 6d. T Shirts from Woolworths. » Denzil says it’s suits now, and basket shoes.

You need £ 15 a week to be a leader – most Mods make between £ 8 and £ 10 a week and spend about £ 4 on clothes. « It’s pure dress now, » says a ‘stylist’, « no gimmicks. Your handbag has to look expensive inside, it could never be plastic. » « A boy will carry trousers to the dance hall in a polythene bag so they don’t get creased, » says another. « They spend hours on their hair – they don’t use any old blow drier, but one with a hood. »

« The Shake, Block, Bang, Surf – they’re all out. And girls are out for dancing. They don’t let themselves go. So we just dance as a group. » For Mods the pop music and dance TV programme is still Ready Steady Go ; and the club is The Scene. Cathy who comperes the show, says the programme is successful because it doesn’t preach. « We show the kids what’s new – they can pick it up if they like it. » Everybody goes to The Scene (2 gns. A year membership, 1 gn. for girls) because they’ve had groups like The Animals and The Stones and put on rare records from America.


« If you can’t dance you might as well go home. Or you have to dress really smart to make up for it. » Quick changes, like this one outside a Soho club are part of the game. Tuesday is the best night at The Scene. Monday is Mecca night (Hammersmith Palais or the Orchard at Purley), Wednesday for staying in, Thursday for washing your hair – and Friday for nothing special ? Then Saturday night-all night in the West End. « Movies or football ? » says Denzil. « We don’t have time for them, because Sunday’s meant for the Flamingo, or sleeping, and Saturday for shopping. »












« There’s a place for choice Mods left of the band. Rockers wouldn’t dare stand there. » The choice place is at the Orchard Ballroom – which has two bars, ultra-violet lights that play on the dancers, and a blue grotto for sitting out. It costs 3s. to get in -–if you get past the ‘bouncers’ ; they know the trouble-makers.
The ‘choice’ Mods don’t use the term ‘Mod’. « You wouldn’t be pleased to call yourself that, » says Denzil. « Though you might call us stylists, orfaces. » « New faces are being snubbed now, » says Louise, « because the old ones are still in power. By the time it’s the young kids’ turn, something else will be in. »






I don’t really mind about keeping up with the Joneses but when your friends look at you and say, ‘We’ve got a car or a fridge … » Jean (Below) who works as a hairdresser is 19. Her husband Mike is 22. He’s a post office engineer. They live in a small flat in Hammersmith, and collect stones, knives and cheap antiques. Both are Mods but they look forward to staying at home at least one night a week. Mike wears carpet slippers after work. Both of them are saving up for things. Most Mods are more worried about having a good time than a good job.


















Say you get something unusual like going to the coast in a lorry, you look forward to it. »
Or a shuffle boat party on the Thames, or sitting around on the beach at Margate with your transistor. « Everybody wants to go abroad, » says Denzil. « Some get ‘blocked’ and say they’ve been washed up in Switzerland or Casablanca. But you know it’s not true. » « Some boys put up pylons in the summer – you get a good tan that way, » says Louise.
A few years ago, when the coffee bars were in, you pretended you were intellectual. Now you just chatter. « We don’t talk politics or religion – we hate attempts to make religion with it. It’s always Rockers on those tele programmes. »

« This Violence is stirred up by the papers. The Mods haven’t time to hate – they are too busy looking at themselves. » The two ‘Mockers’ above wear Rocker-type jackets but made of nylon, not leather ; and Mod hair styles. They don’t fit either side. « But the press built up these gangs, » says Ted. « We’d just walk past the Rockers. » But now, according to one girl, somebody says, ‘Let’s go to Hastings, or Brighton, for violence’. » « My dad’s trying to get me to join the Young Conservatives » says Louise, « but I like this set. They’re nice, and they say what they mean. »