Friday, August 18, 2017

Alma Cogan (1932 - 1966)




Alma Angela Cohen was born in 1932 in the East End of London. Her mother liked the name Alma and took it from the actress Alma Taylor. Alma’s parents moved to Worthing, Sussex where she grew up before going to school in Reading, Berkshire. Her father sang and she had an uncle who was a band leader. The house was full of jazz and young Alma soon picked it up. She was auditioned for the Ted Health Band as a child and began singing at tea dances, aged only 11. When she was 16 and appearing in the chorus of High Button Shoes, Walter (Wally) J Ridley spotted her and signed her to the HMV label. Although her first single "To Be Worthy Of You" / "Would You" (1952) was not a commercial success it did receive regular airplay.



During a recording session in 1953 Alma broke into a giggle while singing "If I Had A Golden Umbrella.” The producers liked it and kept it in the recording then a year later, the girl with a giggle in her voice had a hit with Bell Bottom Blues which really launched her recording career.



Bell Bottom Blues (1954) which sold more than 100,000 copies. She was soon asked to replace Joy Nichols as the resident singer for “Take it from here” (BBC). where she performed up beat ballads and novelty songs.



Alma became a firm favourite in other radio shows including Gently Bentley, and The Glums which established her as a UK star.



In 1955 Alma topped the UK charts for the first and only time with "Dreamboat."



She was a belle figure and attracted much attention for her collection of luxurious haute couture. She wore hooped skirts, often heavy with sequins, and figure hugging tops. Her gowns were indeed extravagant and her dress always caught the eye during her many TV appearances. Alma changed her musical material to suit the times and by the end of the fifties she had her own television program and was cast in the role of Nancy in Lionel Bart’s Oliver. In her private life Alma was a party girl and played host to the glitterati with all-night parties at her Kensington High Street home. Guests were literally a ‘Whose Who ‘and included regular such as actors, Stanley Baker and Roger Moore, musos, Paul McCartney, Noël Coward, Ethel Merman, and Lionel Bart, among many others. Her close friends included Danny Kaye, Elizabeth Taylor, Bob Hope and Sammy Davis Junior. It has been suggest Alma had a close relationship with John Lennon. Paul McCartney famously wrote the first draft of Yesterday at Alma's flat, and she became the first woman to record it.



Although the hits had dried up she continued to record and had credible versions of Burt Bacharach songs and recorded six Beatles songs, including: “Help,” "Eight Days a Week," "Yesterday," "I Feel Fine," and "Ticket to Ride." They were recorded in Studio 1 at the Abbey Road Studios and the orchestrations were by Stan Foster.



Some authorities suggest Lennon and McCartney were present but others deny this. Behind the scenes Alma had fallen out with EMI and her usual producer Norman Newell was replaced by David Gooch. Despite her status as a star EMI records had decided in 1965 not to renew her recording contract. Alma continued to appear live and whilst touring Sweden in 1966 she was diagnosed with ovarian cancer. She died shortly afterwards. In her short career she had 18 chart hits and at her height Alma Cogan was the highest paid British female entertainer.





Worth a listen
To be worthy of you (1952)
Over And Over Again (1953)
If I had a golden umbrella (1953)
Bell Bottom Blues (1954)
Make love to me (1954)
This Ole House (1954)
I Can't Tell A Waltz From A Tango (1954)
Never Do A Tango With An Eskimo (1955)
Dreamboat (1955)
Hernando’s Hideaway (1955)
Love And Marriage (1956)
Why Do Fools Fall In Love/ (1956)
The Birds And The Bees (1956)
Willie Can (1956)
In the middle of the house (1956)
Whatever Lola wants (1957)
Sugartime (1958)
Last Night On The Back Porch (1959)
Just Couldn't Resist Her With Her Pocket Transistor (1960)
Tell Him (1963)
Fly Me To The Moon (1963)
The Tennessee Waltz (1964)
Eight Days A Week (1965)
Help (1965)

The Monkees



The Monkees were four actors playing musicians for an American television series of the same name. The program ran from 1966 to 1968 and was modeled on the Beatles' film A Hard Day's Night. Featured were the antics and music of a fictional pop-rock group based in California. Due to the incredible success of the program and the massive record sales that resulted, the pretend group became a real pop-rock group.



437 hopefuls rocked up for the auditions including Harry Neilsen. The final Monkees line up was David ('Davy') Jones (percussion/vocals), George Michael ('Micky') Dolenz (drums/vocals), Michael Nesmith (guitar/vocals), and Peter Tork (bass/keyboards/vocals). Stephen Stills was short listed but eventually rejected because of his bad teeth. Mike Nesmith and Peter Tork were professional musicians, but Mikey Dolenz (Circus Boy) and David Jones (Coronation Street) were already established actors.



To make the group look natural with their instruments they went through extensive training prior to the pilot episode being filmed. Only the Monkees voices were used on the initial recordings. Don Kirshner, executive producer employed popular songwriters including Neil Diamond, Gerry Goffin and Carole King, Harry Nilsson, Barry Mann and Cynthia Weil, Tommy Boyce and Bobby Hart to write the Monkee songs and in the studio they had top session musicians. The following all went to #1 in the singles charts around the world.











The massive success of the series and its spin-off records created intense pressure to mount a touring version of the group. In 1966 with fear and trepidation the Monkees embarked on a live tour and wherever the group performed they met scenes of fan hysteria not seen since The Beatles. This gave the four Monkees increased confidence in their battle for creative control over the music used in the series.



The group complained and eventually it was agreed they should play their instruments. In 1967 on the third album Headquarters, the four Monkees were playing most of the parts on their recorded material.



The Monkees TV program was produced by Bert Schneider and Bob Rafelson (Easy Rider), and Bob Rafelson (dir Five Easy Pieces and The King of Marvin Gardens). Rafelson directed the Monkees feature film, Head (1968) in conjunction with Jack Nicholson.



The film was a critical and commercial disaster but developed a cult following for its innovative style, anarchic humour, and quite an outstanding soundtrack. Tension within the group was increasing, and Peter Tork left shortly after the band's Far East tour in late 1968. Not long after Mike Nesmith left the group, leaving only Mikey Dolenz and Davy Jones to record as the Monkees. Mike Nesmith went on to a successful solo career.



When Davy Jones departed the first phase of the Monkees' recording career ended in 1970. Several reunions of the original line-up have taken place. The first reunion lasted from 1986-1989 and the Monkees toured the world including Australia. Their second regrouping took place between 1996-1997. The Monkees (without Naismith) last worked together in 2001. Davie Jones died from a heart attack in 2012.





Worth a listen:
(The theme) Monkees (1966)
I'm a Believer (1966)
(I'm Not Your) Steppin' Stone (1966)
Last Train to Clarksville (1966)
Daydream Believer (1967)
Pleasant Valley Sunday (1967)
A Little Bit Me, a Little Bit You (1967)

Thursday, August 17, 2017

Potted history of Australian Record Companies




Festival Records was founded in Sydney in 1952. The company was started by a merchant bank called Mainguard, when they purchased a small record pressing company, Microgroove Australia. The artists and repertoire (A&R) manager, Les Welsh (former band leader) pulled off a coop when he managed to acquired the Australian rights to Bill Haley’s "Rock Around The Clock" in 1955 and the song which featured in the movie “Blackboard Jungle,” went on to become the biggest-selling record ever released in Australia up to that time.



Ironically Les Welsh disliked Rock’n’Roll but he knew the market well enough to know where to invest. He fell out with Festival Records management and was replaced by Ken Taylor (a disc jockey). Ken Taylor also disliked Rock’n’Roll but that did not stop him from singing the three top Rock’n’Roll artists of the 50s to Festival Records : Johnny O'Keefe and the Dee Jays; Col Joye and the Joy Boys; and Dig Richards and the R'Jays. Bill Haley had met Johnny O’Keefe on his Australian tour and the two became good friends. Although Haley had personally recommended Johnny to Festival records, Johnny took matters into his own hands and had a quite word with a friendly journo, telling him, Festival Records had signed the act. The first thing the company knew was when they read it all in the press. Despite healthy sales, parent company Mainguard was in serious financial trouble and in 1957 Festival Records was sold to property magnate L J Hooker. Under Hooker who did like the music, Festival Records produced its first home grown number one hit with (Real) Wild one by Johnny O’Keefe and the Dee Jays (1958).



The absence of international acts combined with poor management meant Festival Records were again running at a loss, when it was bought by Rupert Murdoch's News Limited in 1961. Herb Alpert & the Tijuana Brass were emerging in the US as a tour de force and their record company signed distribution rights with Festival Records. When "The Lonely Bull" became a worldwide hit, A&M Records were sufficiently impressed with Festival Records they started to supply a stream of top-selling U.S. acts including The Carpenters into Australia. Soon Festival was back on top. Company Chairperson, Alan Hely cultivated distribution deals with local and International record companies which gave Festival exclusive Australian rights to a steady stream of international hit albums and singles. Festival dominated the Australian pop scene of the mid-to-late 1960s, recording and/or distributing some of the most popular Australian acts of the decade, including Normie Rowe, Billy Thorpe, The Bee Gees, Ray Brown & The Whispers, Tony Worsley & The Fabulous Blue Jays, Jimmy Little, Noelene Batley, Mike Furber, The Dave Miller Set, Johnny Young, Wild Cherries and Jeff St John.



Meantime the R'Jays had became Festival's house band and although the studio was pretty basic, lacking many facilities including an 'echo chamber' (they used the loo), Pat Aulton the house producer, was responsible for more Australian-made hits than any other record producer of his era despite his primitive surroundings. In 1970, Festival established a new progressive music label called, Infinity Records. The intention was to market the new generation of progressive rock acts which included the "new" Billy Thorpe & The Aztecs and Sydney’s new sensation Sherbet.



During the 70s and early 80s Festival records formed an alliance with Melbourne based Mushroom Records and together enjoyed continuing success during the late 1970s and early 1980s.



Mushroom Records was formed by Michael Gudinski and Ray Evans in 1972. The company had struggled in its earlier years until their fortunes dramatically turned around when Skyhooks debut album became a best seller in 1975. Good fortune continued when they signed New Zealand’s Split Enz and scored another huge hit with their album, True Colours. During the eighties Mushroom had more international success with The Saints, Kylie Minogue, Jason Donovan, Paul Kelley and Jimmy Barnes among many others. When Cold Chisel broke up Jimmy Barnes signed with Mushroom Records and launched his solid career with the album Bodyswerve. The album was immediately successful, entering the Australian charts at Number One. This was the first of a remarkable run of top charting albums for Jimmy Barnes, as each of his first six solo albums all debuted in the Number One position. In 1998 Festival and Mushroom Records merged and the company was renamed Festival Mushroom Records (FMR).





One of the oldest independent music publishing companies in Australia is J Albert & Son., and in the sixties there was an off shoot of the company called Albert Productions. They set about signing up local musical talent and snapped up the Easybeats.



The group had phenomenal success in Australia but alas only fleeting interest internationally. Not of course before making important contacts and learning more about the pop business. Albert Productions encouraged Harry Vanda and George Young back to Oz and meantime signed a new act from Melbourne called John Paul Young.



The former Easybeats set to writing material for him. Pasadena was a massive hit and John Paul Young temporarily suspended leaving the business. Vanda and Young became producers and worked with other Australian acts including a new and up and coming rock outfit, The band members included George’s two younger’s who went onto modest success as ACDC The groups cd sales are estimated at 120 million worldwide.



Albert Productions continued to promote Australian talent with acts like Stevie Wright, Ted Mulry, The Angels, Rose Tattoo, Flash And The Pan and Choirboys. Albert Productions eventually signed a deal with Festival Mushroom Records which ensured the back catalogue of these acts could be digitised and once again heard. In October 2005 Festival Mushroom Records was sold and as of 2006, it has become one of the record labels operated by the Warner Music Group (WEA International Inc.).





Worth a listen:
Bill Haley and the Comets
Rock around the clock (1956)

Johnny O’Keefe and the Dee Jays
(Real) Wild One (1958)

Col Joye and Joy Boys
Oh yeah , uh huh (1959)

Herb Alpert & The Tijuana Brass
The Lonely Bull (1962)

Jimmie Little
Sweet Mama

Easy beats
Friday on my mind (1966)

Normie Rowe
Shakin' All Over (1967)

Billy Thorpe and the Aztecs
Most people I know (1972)

Sherbet
You’ve got the gun (1972)

John Paul Young
Pasadena (1972)

Skyhooks
All our friends are getting married (1975)

Split Enz
I Got You (1975)

Ted Mulry Gang
Jump in my car (1976)

Play Like Elvis: How British Musicians Bought the American Dream by Mo Foster




Excellent book by Mo Foster Play like Elvis!

Wednesday, August 16, 2017

The Dead South: Honey You


A brief history of Chanson Francaise




Chanson Francaise was a new development in popular music where lyrics started to mean something and singing was not there just to keep the music company. The movement started in France and came to prominence during the era of the music hall. In early Vaudeville (US) and Music Hall (UK) song lyrics contained vulgar expressions which eventually polite society took exception to and public singing split into two forms; simple bland lyrics which complemented the melody but had no real depth to their meaning; or clever use of double entendre preferred by comics. In France song lyrics had deeper meaning and the singer songwriter was very much part of Chanson Francaise. In Paris the oldest music hall opened its doors in 1888 and was owned by Joseph Oller, (the creator of the Moulin Rouge). At first it was called "Montagnes Russes" then in 1893 it was renamed the Olympia. The music hall played host to a variety of entertainment including circuses, ballets, and operettas but in the thirties as the singer song writer began to take hold the Olympia became a premier venue.



Rina Ketty had a big international hit with J’attendrai in 1938 but most probably the best know act to emerge around this time was a Belgian-French actor, singer and popular entertainer, called Maurice Chevalier and both he and Rina filled the auditorium many times. During the Occupation of Paris, Chevalier was accused of collaborating with the Germans. As a communist he always denied this and become one of the most affable and well respected character actors in Hollywood. He starred in many musicals, including Gigi. After the Liberation of Paris the theatre was open to all Allied troops, free and gratis and all the shows always ended with the Can Can.



Edith Piaf worked with the Resistance and despite leading a very full life it was also a sad one. She conquered the US after the war and became the vanguard for many other European singers including Viki Leandros and Juliette Greco that would follow. Édith Piaf was responsible for introducing Charles Aznavour to the public after he had served her as her chauffeur.



By the end of World War ll, French musicians became wildly experimental and diverse integrating jazz into chanson francaise. By the early 50s a natural beauty called Juliette Gréco became the archetype pin up girl of the Beat Generation. Her physical presence was stunning and she inspired many songwriters to write love songs about her. Her fabulous complexion, high cheek bones and hair, always worn unfashionably long and free, made her a photographer’s dream. She appeared at the Olympia many times both as a singer and later as companion to Miles Davis.



The theatre fell into dis-repair until it was revived in 1954 by Bruno Coquatrix. Over the next few years it became the premier venue for rock and roll artists with Johnny Hallyday, Richard Anthony, and Claude François all becoming French rock’n’rollers. Johnny Hallyday was the Johnny O’Keefe of the French speaking world and enjoyed a long career with many hits. Something specific to chanson francaise was the singer songwriter and the rise of Lennon and McCartney was in no short measure due to a wider acceptance of this phenomenon. Ironically Paul McCartney at parties would do a little turn for the guests lampooning the stereo typical singer songwriter of the time – a solitary guitarist in the corner of the room singing a deep and meaningful love song like, Michelle. Françoise Hardy was a singer song writer and became the 60s French icon setting the pathway for other women singer song writers to follow like Carol King, Joni Mitchell and Melanie.





Jacques Brel was another a master of the genre with romantic lyricisms that revealed levels of darkness and bitter irony so suited to the French language. His tender love songs had flashes of barely suppressed frustration and resentment and his insightful and compassionate portrayals of the unsavoury side of ordinary life makes his music compelling listening. Many of his songs were translated into English and recorded by well known artists, like Terry Jacks (Season of the Sun) (1974); and Scott Walker (Jackie) (1967).



In the 60s the Olympia became the premier venue for international stars with Judie Garland, Petula Clark, the Beatles (1964), and Nana Mouskouri (1967) all appearing among many more. One particularly popular French act was Stephane Grapelli and all the more so when he appeared with Django Reinhardt.



In the early 60s, chic French people also liked to listen to records played by disc jockeys in small darkly lit cocktail lounges. The fashion caught on with the fast set in the US and the concept of the discotheque was born. A frequent visitor to the Olympia and the disco was playboy, Sacha Distel, who established himself as an international star gaining a mention in Peter Sarsted’s, ‘Where do you go to (my lovely)’ (1969). Another French singer-songwriter to appear at the Olympia was Serge Gainsbourg who began as a jazz musician in the 1950s. His adept song writing contained double-meaning with strong sexual innuendo and in 1969 Serge released what would become his most famous song in the English-speaking world, "Je t'aime... moi non plus.” Originally it was recorded with Brigitte Bardot, but Bardot took cold feet because it was so sexy and backed out. The version with Jane Birkin was eventually released and went to Number 1 all round the world, despite getting no radio airplay.



In the late sixties a group of Greek musicians moved to Paris and formed Aphrodite's Child. They scored an immediate worldwide hit with their first release, Rain and Tears. After the band split, Demis Roussos and Vangelis took completely different musical directions both succeeding in their endeavours. The Paris Olympia has over the decades showcased a wide variety of international performers, from the Beatles to Nick Cave, with many like Luciano Pavarotti, and Jeff Buckley giving outstanding performances.



Sadly the building fell into decline after Bruno Coquatrix’s death and plans were put in place to demolish it. Then in the 90s the government declared it a listed building. Consequently it has undergone extensive construction work and has been rebuilt as a perfect replica of the façade and grandeur of the famous red interior.





Worth a listen

Rina Ketty
J’ attebdrai (1938)

Charles Trénet
La Mer (1946)

Maurice Chevalier
Thank Heaven for Little Girls (1957)

Édith Piaf
Le vie en rose (1960)

Charles Aznavour
J’aime Paris au mois fe mai


Juliette Greco
Chanson pour l’auvergnal

The Overlanders
Michelle

Scott Walker
Jacki (1967)

Aphrodite’s Child
Rain and tears (1968)

Serge Gainsbourg and Jane Birkin
Je t'aime... moi non plus (1969)

Sacha Distel
Raindrops keep falling on my head (1970)

Joni Mitchell
Carrie (1971)

Stephane Grapelli and Django Reinhardt.
Lambeth Walk

Luciano Pavarotti
Nissan Dorma

Tuesday, August 15, 2017

Brief history of White Boy Blues (UK)




After the war, thousands of US troops remained stationed in the UK and flocked in their droves to Soho (London) looking for entertainment. The older soldiers went to the jazz clubs like The Americana, the Barrel House and the Flamingo on Wardour Street to listen to traditional and modern jazz.


Americans GIs and British youths mixed mostly in the coffee bars and new blues dance clubs which were springing up. In London and Birmingham, there were large West Indian populations and clubs like The Roaring Twenties and the Marquee brought Jamaican blue beat (ska) which would evolve into reggae) and this gave the developing UK blues scene a unique spin.



Working class teenagers were fascinated with everything American, but rationing prevented them from dressing the same; however it did not stop youths from adopting an American demure and delinquent attitude. GIs, going home were guaranteed extra income by selling their cotton T shirts, Levi's, and much valued record collection which were snapped up in the clubs. More and more African American artists like Muddy Waters and BB King were successfully touring Europe and were backed by local musicians, all keen to learn the tricks of the trade. The fan base for Blues grew and it was only a matter of time before a new order would appear. The four most influential people in the UK Blues Movement were: Alexis Corner, Cyril Davis, Long John Baldry and John Mayall. Between them they legitimised the White Boy Blues (or blue eyed blues) movement and in doing so set countless number of musicians, many of which are now very rich and famous, on their way to stardom.


(The Father of British Blues), Alexis Korner (1928 - 1984) was born in Paris in 1928 and started his career with Chris Barber's Jazz Band in 1949. Alexis met Cyril Davies and they wanted to play electric blues so became a duo making the rounds of London’s pubs and clubs. Soon they opened their own club, The London Blues and Barrelhouse Club, and then in 1962, the pair formed Blues Incorporated becoming residents at the Marquee Club, Soho, London. The Marquee Club was to London what the Cavern was to Liverpool. Literally dozens of musicians passed through Blues Incorporated, notably: Mick Jagger, Jack Bruce (Cream), Hughie Flint (Manfred Mann), Robert Plant (Led Zepplin aka NewYardbirds), Ginger Baker (Cream), Charlie Watts, Graham Bond (organ), and Long John Baldry. Prior to the formation of the Stones, Keith Richards and Brian Jones frequently jammed on stage with Blues Incorporated but were never considered formal members of the band. Despite the obvious talent Blues Incorporated enjoyed no commercial success, remaining predominantly a live club act. Alexis insisted on working with a brass section of jazz musicians which caused of friction between the two musicians and Cyril left the group in 1967. Alex formed a jazz –rock band called C. C. S. (Collective Consciousness Society), and had several chart successes including an instrumental version of Led Zeppelin's "Whole Lotta Love" which was used for many years as the theme music for Top Of The Pops (BBC).





Cyril Davis (1932 - 1964) and the R&B All Stars consisted of Bernie ‘Strawberry” Watson (guitar), Nicky Hopkins (guitar), Carlo Little (drums) and Rick Brown (aka Fenson) on bass. They took over the residency at the Marquee Club. Carlo and Rick occasionally played with the embryonic Rolling Stones, but despite impressing Keith and Brian, Carlo earned too much money with Cyril Davis to become a permanent Stone so he suggested his friend, Charlie Watts. Bill Wyman was so impressed with the “walking bass” style of Ricky Fenson on stage he took it for his own. At first The Stones supported Cyril and the All Stars at the Marquee, but when Mick and the boys demanded more money they were replaced by Long John Baldry and The Velvettes. Cyril Davies and the All Stars only enjoyed modest recording success until his death in 1964 when Long John Baldry took over and relaunched the group as, The Hoochie Coochie Men.





Long John Baldry (1941 – 2005) was 6 ft.7 in tall and had a deep, rich voice, ideal for singing the blues. Like Korner and Davies, the gentle giant inspired many artists to perform including Eric Clapton. On vocals for the Hoochie Coochie Men was a relative unknown called, Rod ‘The Mod’ Stewart. When the group were renamed the Steampacket, Julie Driscoll (vocals) and Brian Auger (organ) became permanent members. Despite being a tremendously popular club act they broke up in 1966.





Baldry then formed Bluesology with Reggie ‘Hercules’ Dwight better known as Sir Elton John, on keyboards. Apart from one excellent live blues album (recorded at the Marquee), and an army of followers, the group had little commercial success. Bluesology, split in 1968 but Baldry continued his solo career. He became a balladeer and had a couple of commercial singles, with “Let the heartaches begin’ and ‘ Mexico.’ Long after chart success he continued to make records and tour as a blues singer until he died in 2004. Baldry dulcet tones can still be heard as the voice over for Dr. Robotnik in Adventures of Sonic the Hedgehog. Elton John formed a song writing partnership with Bernie Taupin and Rod the Mod fronted the Faces (a revamped Small Faces) and the rest as they say is more or less history. Long John Baldry encouraged John Mayall to come to London and form The Bluesbreakers.





The band became a proverbial clearing house for talented musicians and had many different line ups, including Eric Clapton, Jack Bruce, Peter Green (Fleetwood Mac), John McVie (Fleetwood Mac), Mick Fleetwood (Fleetwood Mac), Mick Taylor (Stones), and Aynsley Dunbar, plus many, many more. Their first commercial success was with Eric Clapton and the famous Beano Album. Clapton left soon after and was replaced by a myriad of talents. Late in his career John Mayall relocated to the US and encouraged many US musicians to play the blues. He continues to perform (aged 70 plus).





Other talented musicians who turned their attention to blues were Chris Farlowe and Georgie Fame, both played at The Flamingo Club. The movement which had been started with the Moldy Figs and Trad Jazz moved swiftly through Skiffle to produce a critical mass of young musicians eager to show their mastery of the genre. From Belfast to Brisbane, from Manchester to Melbourne, and from Newcastle to New Zealand kids were playing their own version of the blues.



The Marquee

The Marquee Club The original Marquee club was located at the basement of the Academy Cinema in Oxford Street, London. The Academy Cinema's premises included the Pavillion, a restaurant, and the Marquee ballroom in the basement which hosted the first Marquee club. It was opened in 1958 and ballroom had already hosted dance orchestras and big bands during the early 50's without much success. By the end of 1957 the ballroom held a series of Saturday and Sunday jazz nights which proved very popular. Regular "Jazz at The Marquee" nights started and featured all the well known bands. In 1962 the Marquee club, re-affirming it's spirit for new music values, had started a series of rhythm and blues nights on Wednesdays and Fridays featuring Alexis Korner and Cyril Davies. From that moment onwards the Marquee became the most important club for the British rhythm and blues scene of the 60's. The club was relocated to 90 Wardour Street, Soho and the original building in Oxford Street was demolished (now a bank). The new Marquee Club opening featured Sonny Boy Williamson, Long John Baldry and the Hoochie Coochie Men (featuring Rod Stewart) and the Yardbirds, who recorded their debut album "Five Live Yardbirds" on that night. The constant vibration of thousands of watts at the club over a thirty year period caused the building’s façade to slip and need to be demolished. The new Marquee closed its doors on the 18th of July, 1988. The club was relocated to 105-107 Charing Cross and ran until 1995. A new Marquee Club opened in 2002 at the Islington Academy, 16 Parkfield St. but closed four months after it's opening. The Marquee returned to Soho at 1 Leicester Square and ran until 2005.





Muddy Waters
Got my mojo working (1956)

The Graham Bond Organisation (recorded live at the Klooks Kleek)
Stormy Monday Blues (1964)

Manfred Mann
5,4,3,2,1 (1964)

The Rolling Stones
Can I get a witness (1964)

The Yardbirds
Still I’m sad (1965)

Them (with Van Morrison)
Baby Please don’t go (1965)

Spencer Davis Group
Keep on Running (1965)

Steam Packet Company (featuring Long John Baldry)
Cry me a river (1965)

Geogie Fame
Yeh yeh (1965)

The Loved Ones
Ever lovin’ man (1966)

Brian Auger Trinity
Wheels on Fire (1968)

Fleetwood Mac
Shake your moneymaker (1968)

CCS
Whole Lotta Love (1970)

Rod Stewart and The Faces
Cindy Incidently (1973)

Chris Farlowe (Little Joe Cook)
Stormy Monday Blues