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Rockabilly Underground
London 1980s
William Jones
INTRODUCTION
Rockabilly is a primitive form of music which emerged from the segregated deep south of the 1950s.
Exponents of an early form of country music called Hillbilly borrowed some Rhythm and Blues from
their segregated neighbours and 'Rockabilly' was born. The driving rhythm and gutsiness from the
Rhythm and Blues mixed with the melody of Hillbilly created a high Octane music called 'Rockabilly'.
The best known exponent of this music was Elvis Presley. His sessions recorded at Sam Phillips Sun
Studios in Memphis Tennessee between 1954 and 1955 are considered classic recordings.
Other people had touched on the Rockabilly formula, but Elvis perfected it. Elvis also gave us the
clothes, the hair, the attitude and singing style. Elvis would become a 20th Century icon, a pop
superstar and a movie star. Elvis would become a bloated drug addict and die long before his time.
But to Rockabillies worldwide, he was the guy that sang 'Good Rockin Tonight'. 'Teddy Bear' Elvis
did not exist for us.
Strangely, it would be Elvis's many imitators who would become our idols in the 1980s.
The music we listened to was obscure. It would be unearthed by some industrious party and re-
released for our / their benefit. We called these records 'repros' (reproductions).
Many a star would be born as a result of these repros. Men in their forties who held down day jobs
and could barely remember making records in the fifties would soon be stars throughout Europe and
Scandinavia.
'It's a story that has to be told' Paul Roman (The Quakes)
So, here goes.
I grew up in the 1950s. I wore a pompadour hairstyle like Elvis, all greased up with 'Black and White'.
I wore peg trousers, box jackets, turned-up jeans and crossover jumpers. I listened to Rockabilly. The
REAL stuff from the deep south. Charlie Feathers, Mac Curtis, Ray Campi and Johnny Burnette were
my idols. My favourite television show was 'Only Fools and Horses' ... huh?
Ah, yes, there is a material error in my story. It wasn't the 1950s, it was the 1980s. It wasn't the deep
South, it was London, England.
But all the rest is true. During the 1980s, a few thousand of us lived in the 1950s, we had the music, the
clothes and the cars. We had our own clubs, bands, record labels and magazines.
We were Rockabillies, but not just any Rockabillies, we were LONDON Rockabillies.
Friday night and I take the short walk from my flat in Ravenscourt Park to Hammersmith Broadway. I
stroll past off-licences and pubs along Dalling Road. This part of Hammersmith is warm and kind. It's
quaint zebra crossings, belisha beacons and low buildings give it an almost toytown appearance.
I continue along Glenthorne Road past more pubs and a car park and then I turn right.
I walk into Hammersmith Broadway Tube Station and buy a ticket to Oxford Circus.
I descend the staircase onto the platform.
As always I enjoy the gazes from fellow passengers and try to read their expressions. Are they
impressed or afraid of me? My exotic appearance and regulation tattoos never fail to draw glances.
I am dressed in blue Jeans. The jeans have turn-ups. I wear a thin black belt with the buckle turned to
the right side of my waist. My shirt is half pink and half black and my Jacket is an explosion of colour
that defies description
My immaculately quiffed hair has been teased into shape with 'Black and White' pluko wax and stands
sleek and proud emulating a myriad of 1950s singers and movie stars.
The display on the platform reads 'Next Train Cockfosters'. My pilgrimage begins. The train arrives,
just as Elvis foretold in his 1955 classic 'Mystery Train'.
I step into the carriage and soak up more gazes. No-one will hold my gaze for long.
The train rattles and splutters along until it reaches Piccadilly Circus. I disembark and walk through
the now familiar maze of tunnels to another platform. The final leg of my journey begins as I board
another train and the doors close behind me.
One short stop later and the guard announces 'Oxford Circus'. I leave the train and navigate through
the tunnels and up a very long staircase. I emerge into the half-light of early evening. Oxford Circus
is bright and busy. Rows of manikins gaze out the well dressed and even better lit shop windows. I
cross the street and walk past British Home Stores.
This is it. My heart quickens as I glance the edge of The Phoenix bar poking out of Cavendish Square.
I turn left.
On entering the Square I am immediately transported into another world, the real world. I am greeted
by the sight of rows and rows of gleaming 1950s cars.
I know I am home.
I am greeted at the door by the familiar sight of a bouncer. The same bouncer I see at all the clubs. He
has his hair in 'corn rows' and wears a Tuxedo type suit. In his ears, as always, is cotton wool. He
greets me and takes my 3.
I walk down the stairs into the basement. I give my coat to the cloakroom girl and she gives me a
ticket. I am now in heaven.
One more step and I am greeted by dozens of bequiffed Rockabillies, average age 19, all delighted
that I have made the pilgrimage, yet again. My faith is strong.
As I walk in, my eyes have to adjust to the dark room. There is a small seating area on the right and
the walls are mirrored to enable the dancers to admire their own performances. On my left is the bar.
The DJ booth is straight ahead. There is a square shaped dance floor in front of the booth.
I have to negotiate my way through the crowd, exchanging greetings and hand shakes with almost
every one of them.
The Phoenix is shaking and desperately trying to expand its mass to accommodate the numbers. The
dance floor is full, the bar is full, the seats are full, even the space behind the booth is full with record
stalls and their customers.
As always, Tom Ingram is in the DJ booth spinning his usual mix of 'Boppers, Jivers and Strollers'.
The 'Boppers' inspire dozens of young men to dance their hearts out to pounding Rockabilly beats,
slick clean guitars and slapping double bass.
The 'Jivers' bring the couples together in a more competitive 'look what great dancers we are' kind of
way and The 'Strollers' allow legions of Marilyn Monroe look-a-likes to show themselves off with a
kind of sexy walk-come-dance routine that requires synchronised steps.
The music is played in 'sets'. A number of Boppers, then Jivers, then Strollers and back to the Boppers
ad infinitum.
Roots
I was born in Glasgow in 1967. All my earliest memories are of music. The first record I remember
playing over and over was a 78 (that's a 78rpm vinyl disc for you youngsters) of 'Rock Around The
Clock'. I didn't actually play 'Rock Around The Clock' for some time, I played the 'b' side 'Thirteen
Women', a kind of jazzy thing.
Eventually I turned it over and heard the perfect record! A solid slab of Rock and Roll with a crystal
clear slap bass sound, driving rhythm and the best guitar solo of all time.
I later learned that this solo was played by a session musician called Danny Cedar. How does a man
walk into a studio and play a perfect Rock and Roll solo in 1955? There weren't any Rock and Roll
records to copy. There was no ... no ... well ... no Rock and Roll!
Bill Haley had a habit of using professional session musicians on his studio recordings in addition to,
or instead of, his live band. Such was Bill's obsession with getting it right.
Bill's perfectionism didn't stop with the music, any Comet caught smoking or drinking in public was
dismissed!!!
The next musical delight I found was an LP called 'Rock Revival'. My favourites from this LP were 'I
Saw Linda Yesterday' Dickie Lee and 'Giddy Up A Ding Dong' Freddie Bell.
This was the early 70s and 50s Rock and Roll was in 'revival'. Even on TV, Rock and Roll was still
going strong.
'Happy Days' was an American Television sitcom which ran from 1974 to 1984. It was set in
'Milwaukee' and featured a cast of Pat Boone look -a -likes, complete with cardigans and short, side
parted hair.
Each week, Ritchie Cunningham, Ralph Malph and Potsie would face a moral dilemma. Enter super
cool 'greaser "The Fonz'. 'Fonzie' could advise on matters as diverse as picking up girls (his expert
subject) the perils of smoking and the importance of education.
The Fonz had the worst attempt at a quiff imaginable. It was scraped over to one side and lacquered.
Oh well, at least he could start jukebox's just by thumping them.
I loved this show, I was only 8 and it's Rock and Roll soundtrack was great, 'Sunday, Monday, Happy
Days, Tuesday, Wednesday Happy Days ...'
In the charts there was the usual throw-away stuff that is always in the charts. But there was also a lot
of music that sounded like Rock and Roll. Bands like T.Rex, Mud and Showaddywaddy were playing
Rock and Roll, of sorts.
Soon, Rock and Roll would be a dirty word and would disappear from all radio station play lists.
When was the last time you heard Rock and Roll on TV or radio?
But for now, Rock and Roll was everywhere, in some form or another.
In 1978, we moved to London. Specifically to Hammersmith. Yes, I know what you are all thinking. I
DO mean THAT Hammersmith, the home of 'Psychobilly', but that was 5 years away.
At that moment, I had some Rock and Roll albums by Bill Haley, Elvis, Everly Brothers etc and was
looking for more.
It wasn't long before I found my 'Mecca'.
The Spinning Disc was a specialist Rock and Roll record shop in Chiswick High Street, just a few
miles from my house. One day in 1978, aged 11, I found it.
For the next ten years I became a regular visitor to this Aladdin's cave. The owner Terry Jones was a
mine of information and always on hand for advice or a friendly chat.
Fate had brought me here. Rock and Roll had been a part of my life as long as I could remember and
now the roots were growing deeper.
I had tried to grease my hair on and off for as long as I can remember. I know what you are thinking,
you think I wanted to be a Ted? Well, no, I didn't know what a Ted was. Did I want to be Elvis? No, I
wanted to be ... er ... well ... Reg Varney.
Reg who? Reg Varney was an actor in a sitcom about bus drivers. He had his hair greased and swept
up into a quiff.
Each time I went to the barber I would ask for a 'Reg Varney' and he would say 'yeah, ok'. Little did I
know, my mother was shaking her head at him and I never got it.
Eventually, having put margarine and anything else into my hair to make it 'quiffed' with varying
degrees of success, my mother gave in and let me have my hair styled properly.
Aged 13 I had my hair cut, not into a Reg Varney' but into a 'Mac Curtis'. Well, I asked for a 'Mac
Curtis' what I got was a bizarre bouffant that lasted a day. Oh well, back to the drawing board.
You must be thinking, did I miss something? He just said 'Mac Curtis', uber cool 50s Rockabilly
singer extraordinaire.
Yes, I almost missed it as well.
Somewhere, somehow in the late 70s 'Rockabilly' became a new craze. There were 'Rockabillies'
everywhere. I had never heard the word 'Rockabilly' before except on an old Guy Mitchell track
called 'Rockabilly' and that was awful.
But, people with flat-top hairstyles wearing donkey jackets, jeans and boots were to be seen
everywhere.
A band called Matchbox hit the UK top 20 with 'Rockabilly Rebel' in late 1979, the first of 5 hits!
Matchbox were one of many British 'revival' bands who played Rock and Roll and Rockabilly in a
distinctively British way. It wasn't primitive, it was more polished. Electric bass was usually used by
these bands, although I recall Matchbox having a double bass. Either way, the stereotypical slap bass
of Rockabilly was not usually in evidence with revival bands.
The Jets, The Polecats and the mighty Stray Cats would all hit the charts soon, but Matchbox were the
first band I recall being 'in the charts.' In fact, the biggest singles artist of the 1980s (a time when
singles sale were massive in the UK.) was a Welsh Teddy Boy called Michael Barrat or 'Shakin
Stevens'.
Alongside Matchbox, in the Charts, were the brand new '2tone' acts, The Specials and Madness and
super group Queen with their own slice of Rockabilly 'Crazy Little Thing Called Love'.
But, back to Mac Curtis.
Mac Curtis and Ray Campi had both been Rockabilly artists in the 1950s. In 1977 with the help of
Rollin records boss Ronny Weiser, Mac and Ray came to England, Europe and Scandinavia under the
banner "Ray Campi and His Rockabilly Rebels with Mac Curtis".
This craze for 'Rockabilly' hit at least one kid in my school and he gave me 'Rockabilly Rebel' single
by Ray Campi (not the same song as Matchbox) and the LP 'Rockin Mother' by Mac Curtis.
I went home with my new records. I placed 'Rockabilly rebel' on the Turntable. BANG!!!!! The sound
hit me like a tornado, slap bass, sweet guitars, slurred vocals, straight beat, ENERGY, youthfulness,
fun, JOY. I could go on, but you get the message.
I loved Rock and Roll but I instinctively knew that this was REAL Rock and Roll. It was how Rock and
Roll was supposed to sound. I put on the Mac Curtis album. More of the same, bass slapping
Rockabilly at its best.
Back to the spinning disc, I was now looking for 'Rockabilly' records NOT 'Rock and Roll'. All I
needed now was money. But still, I could listen to them in the shop.
I had grown up with mainstream 1950s Rock and Roll and culture all around me. By 11 years old,
revival Rockabilly was in the charts and I had discovered the 'real thing', in the shape of Mac Curtis
and Ray Campi.
So far, besides one other kid in my school, I was the only Rock and Roll / Rockabilly fan I knew. I
was a skinny kid, with few friends. A habitual truant and renowned for my 'silly hairstyle' and love of
'crappy music'.
This was about to change.
In Heaven
Although I was a super cool streetwise Ted (in my mind) I was actually just a schoolboy. My parents
were divorced and so I would see my father at his place of work or at his flat.
One day I went to see my Dad who worked at Island records. I had to wait in a place called the 'Wax
Room'. On the wall was a giant chart and all the Island releases were circled. On each desk was a
record player.
I picked up the record in front of me. It was called 'In Heaven' by 'The Meteors'. I put it on. There was
some strange chanting and then ... ROCKABILLY !!!!!!
I had not pursued Rockabilly beyond Ray, Mac and Johnny. But here it was. The Meteors' sang 'I'm
gonna shout so loud I'll wwwwwww wake the dead' to a brilliantly rockin guitar riff.
My dad gave me the album.
I took it home and played it over and over. I couldn't decide whether it was Rockabilly or not. Tracks
like 'Into The Darkness' and 'Attack of the Zorchmen' were brilliant but I wasn't sure what sort of
music it was.
Maybe it was punk. Ah, that old argument again.
A few years earlier the Stray Cats hit the charts. Their debut 'Runaway Boys' was a smash and they are
still the most successful Rockabilly band EVER!
At school, we discussed the Stray Cats after their Top Of The Pops appearance. I said 'its Rockabilly'
my classmates said 'its punk'.
Who was right???
I knew it was Rockabilly, I mean the slap bass, the guitar, the quiffs. Ok they looked a bit odd, with the
giant quiffs and there was something different about it, but it was still Rockabilly.
When I got the album, I was sure. 'Double Talkin Baby', 'Ubangi Stomp', It doesn't get much more
Rockabilly than this.
So, I was again thinking about genres. What is this music? Somewhere, somehow I found out that the
Stray Cats were 'Neo Rockabilly' and The Meteors were 'Psychobilly'.
I played The Meteors daily.
I continued to go to Rock and Roll pubs like The Burnell Arms and The White Hart, Tottenham. But
over the years more and more people stopped going, lost the clothes and then the hair was combed
down.
By the time I was 17, none of the people I had started going to clubs with were still going. It was
always easy to meet new people though.
By the time I was 17, it was 1984 and I was old enough to go to gigs.
I decided to go and see The Meteors at Brixton.
It was a great gig supported by the excellent Guana Batz. I picked up a flier at the gig for another
Guana Batz show at The Klub Foot.
My life changed at this gig. I saw the best modern band I have ever seen, 'Restless' and became a
lifelong fan. The Klub Foot was a weekly event for me for the next few years.
Back at The Burnell I stated chatting to a new guy called Dave. He said he was a 'Psychobilly'. He said
'my mate's in a band you should come and see them'. I said 'what are they called', Dave replied 'The
Meteors' have you heard of them?
Spider was The Meteors drummer. Dave, Spider and myself were out on the town for the next few
years at every opportunity.
One day, I was on a train to Hammersmith. A guy got on. He had a quiff and was dressed in what I saw
as '1950s' clothes. I started chatting to him and he said I should come down to a club called The
Phoenix in Oxford Street. Iain would become my best mate and that brings me to the beginning of this
book!
Mouse (DJ/Singer)
I first met Mouse in the early 1980s. Iain suggested that we travel out to somewhere in the wilderness
on the train to see his friend Mouse's band. I cannot remember where the gig was but we arrived in
plenty of time and Mouse came over and introduced himself.
Although contemporary bands were not liked by many on the scene, I think it fair to say that most
people liked Red Hot 'n' Blue.
Mouse eventually began to take DJing more seriously and started various clubs.
The idea of a club taking place in the afternoon seems bizarre, but Mouse ran a club between 12pm
and 3pm (later it ran until 6pm) at Dingwalls in Camden.
Dingwalls is perhaps the most famous club in this book. It is situated on Camden Lock and is reflected
in the waters of the canal on bright afternoons. All around is the bustle of Camden's busy markets.
Food and clothes are sold to legions of tourists who would gaze at us quizzically as we marched past
on our way to beer and Rockabilly.
Bex recalls : 'The clubs were wicked, getting hammered at Dingwalls on a Saturday afternoon was so
much fun, those bloody red poles in the way, though, were a nightmare when you were dancing. My
friend Geraldine and I used to get SO drunk that when the Strollers came on we always went the
wrong way and put everyone off, I miss her!!:( '
Dingwalls was also the scene of a surprising incident involving the scenes most famous pacifist, Guy
reminded me of this story:
'One of the funniest incidents I ever saw was at a Dingwalls all dayer where someone was jiving with
Jock's girlfriend, and started feeling her up. Jock, who was the most mild-mannered, softly spoken
bloke you could meet, quietly put his pint down by the side of the dance floor, shambled over into the
middle of the seething mass of Jivers and punched the bloke, once.
'The bloke was down and out, sparko, and Jock walked slowly back to the edge of the dance floor and
resumed sipping his pint.'
Dingwalls was an odd venue. There were red pillars obstructively situated on the dancefloor. People
would consistently bang into them when dancing, causing themselves injury. It was a long venue with
tables overlooking the canal at one extreme and the stage at the other.
The walls were decorated with the bands that had played there over the years. Practically every band
plays at Dingwalls sometime.
There is nothing quite like drinking in the afternoon and we would stagger out into the blinding
daylight towards the cafe at Camden tube station for sausage and chips.
20 odd years ago I walked in and the first person I saw was Graham. Graham is on leave from the
army. Graham excitedly tells me of his plans to leave the army and become a baker. He has had
enough of army life. I tell Graham that this sounds like a good idea. Frank arrives and Graham
introduces us to his girlfriend Linda.
Linda is a cute blond from France. By 3pm, Frank and I will have French girlfriends as well. Linda
has kindly brought two friends.
The toilets in Dingwalls stick in my mind as they always seemed to be flooding with water. They also
looked as though someone had taken a hammer to them, perhaps they had.
Mouse played the usual Boppers, Jivers and Strollers back then but he soon started to change things.
Guy: 'Like it or not, everything changed with Mouse. Flash played the more poppy stuff, Jivers and
the like, Tom Ingram played some great Hillbilly and Rockabilly, but Mouse started opening up the
format to include the Sonics, Jimmy McGriff, instrumentals etc. (At least in the clubs I went to in N.
London.) '
Sean Law:
'DJ Mouse ran the Saturday afternoon Rockabilly Hop at Camden Lock - Dingwalls. Dingwalls is still
there in name, but this was at the old Dingwalls Dance Hall, which was eventually converted into a
market space years later. If I recall properly, the Saturday Record Hop started at noon and ended at
three. Eventually it got pushed back to 4:30 and then six pm a year or two later.
'But when I first walked in there it was a barn-like atmosphere populated by a mixture of young and
old London Rockabillies congregating after hitting the market stalls early in search of vintage clothes
and before setting out to whatever Rockin' do or cruise was on that Saturday night. There were
Rockin' people from all over the UK and Europe in there too, as well as a small smattering of
Psychobillies, of which I was one.
Occasionally there were bands at the Saturday sessions at Dingwalls too. On various occasions I saw
the Playboys, the Mercurys and an ill-fated Quakes performance. As Paul Roman then remarked to
me: 'They pulled the plug on us so Mousie could play his Jivers!'
I can picture just about every person I knew at Dingwalls, which gives an idea of its popularity.
Perry:
'Mouse did a New Year's Eve party in a warehouse on The Old Kent Road, it was freezing outside and
the place had no heating. By 11pm it was absolutely packed, the heat from the bodies meant there was
water literally running down the walls, the floor was filthy - it was brilliant. I remember Mouse
panicking as he realised he had left Old Lang Syne at home!
'Afterwards we staggered to a bus stop, to get back to Penge, and bumped into a girl we vaguely
knew, called Karen, who was waiting to get to Forest Hill. As she was on her own, we offered to make
sure she got home safely. Some geezer in a VW convertible pulled up, and offered to run us all home
for a tenner, and he dropped her off on the way. The following December, I asked her to dance, as her
mate was dancing with my mate. 14 years later we are still together (aahhh...)'
The French girlfriends didn't last long for any of us, but I did meet Helen at Dingwalls.
Helen was a feisty Peroxide Blond from Cornwall. She could drink more anyone on earth. Maybe she
got it from her dad. She told me that her dad owned an off-licence and he kept all the out of date beer
until it had double fermented and then he drank it!
Helen also introduced me to 'acid'. One night at the flat Helen announced that she had some acid. I
took half a 'microdot' and she took two. I was disappointed at first as nothing seemed to happen. After
a while I heard Helen shouting from the kitchen where she was making toast 'this toaster is spitting at
me' and laughing her head off.
I never had any fun on my 'trip' I just felt absolutely bloody terrified. It was a long and unpleasant
night.
I have never understood people that take drugs regularly. Another experience of this nature occurred
with a girl called Anna. We had met at Dingwalls and decided to meet up in the week. I had to meet
someone else first and had a few beers. I eventually staggered down to Hammersmith tube station and
met Anna. She was not best pleased at my lateness. When we got my flat she suggested we have a
'smoke. ' We smoked joint after joint and my head was spinning. I lay there staring at the curtains
whilst Screaming Lord Sutch belted out 'Jack the Ripper' through my tinny hi-fi. The fact that Anna
then expected some amorous activity astonished me, I could barely speak.
I saw one or two people on the scene taking IV drugs but overall it was weed or pills.
Helen lasted longer than the others. I have fond memories of walking from my flat to nearby Acton
where Helen had a small room. It always seemed to be sunny and we lay on her bed listening to
Rockabilly albums.
Helen was kind and warm and very feminine despite her drinking abilities.
Helen's upstairs neighbour once gave us a lift to Silks. He was wearing heavy eyeliner and I asked
him why. He told me 'I've been smoking, man, and if the pigs stop me they won't know because of the
liner I put on'.
Let that be a warning to you, that's what drugs do to your brain!!! It will be no surprise to the reader
that the relationship with Helen ended. There was probably another dozen or so, one, two or three
night stands but Helen was my first serious relationship since a girl called June when I was 14. For a
change, it was me that dumped her. But I don't really know why, we were well suited.
FUNLAND
The rockin world is a small one.
I had been to Finland to visit friends. On the way back I stopped in Sweden. I had never been to
Sweden before. I walked around for a while, taking in the cafes and shops when I came across a park.
I sat down on a bench and seconds later someone else sat next to me. I turned to look at the person and
when we saw each other we were both shocked into silence. This was a guy I knew from Camden
Worker's Club! He was married to a Swedish girl and living over there.
The next incident of this nature took place in neighbouring Finland. Myself and a friend Janne went to
a cafe one day. A girl sitting opposite kept looking over. Eventually she came over and said 'I know
you'. I didn't recognize her and I said 'I don't think so'. She asked if we could wait for her and we said
that we could. She left and came back with photographs of the London Rockabilly scene. As she leafed
through them she said 'there you are, I knew I recognized you'. So, there I was, thousands of miles
away being shown my own picture by a complete stranger. This girl was rockin' and had been to the
London clubs. Travelling to London was really common for rockin' folk from all over the world, as
London was rightly seen as the epicenter of cool Rockabilly.
I met a number of people from overseas at the clubs, including Jyki Lehto. We met at a Red Hot 'n'
Blue gig at The Clarendon, Hammersmith. He told me that the scene was massive in Finland. I met
Jyrki and his friend Esa Laakso a few more times over the next few months and I decided to go to
Finland and sample the scene. Jyrki said 'everyone says they will come but they don't'.
I did and I arrived at Helsinki airport in November 1986. Unfortunately Jyrki had been drafted into the
army, but his family met me and took me to their home. Whilst I don't wish to write about my
childhood, it was not a happy one and the generosity of this family was quite overwhelming. The
kindness of Jyrki, Esa and their families touched me very deeply and still does today.
But back to the fun. The first night, Jyrki's girlfriend, Anja took me out. We went to a local bar where
we were met by Esa. This was terrific, sitting with friends, drinking beer in an exotic foreign land.
However, my habit of bumping into people thousands of miles from home soon spoiled things. I was
suddenly approached by an angry girl who said 'remember me'! I did remember her.
We had a one night stand in London. She didn't quite see it that way and reminded me that whilst she
was asleep I had 'tried it on' with her friend. I tried to reason with her and said 'Well if you are really
angry that I tried it on with your friend, you should be pleased that I never contacted you again'. This
didn't go well and Esa had to intervene.
I am one of those unfortunates that never gets away with anything.
On the way home some people stopped us and they asked Anja to sign some money, very strange!
Later I realized that Anja was a pop star in Finland. I liked Anja and she made great Italian food. She
took me to her grannies house and was always very hospitable. My attempts to impress her with my
guitar playing didn't last long when she joined me on the piano and I realized that she was a virtuoso.
I experienced tiredness in those first few days in Finland that I have never experienced before or
since. I would struggle to stay awake. Anja said that the air was so clean that it caused people from
polluted countries to feel exhausted until they adjusted to such a pure concentration of oxygen.
The second night, we went to a few places and ended up in the 'backstage' club in Helsinki. I was about
to realise the novelty value of being a foreigner in a country where there were few foreigners. Anja
introduced me to her friend Nina, a beautiful blonde that was a DJ and Model. That night we took a
cab home and I couldn't keep my hands off her. It didn't bother me that the cabbie was watching. When
we got to her place the cab driver got out and followed us. 'What does the cabbie want' I said. 'That's
my father' was Nina's straight-faced reply.
I will never forget lounging in the arms of the beautiful Nina watching 'Police Academy' it was the
funniest thing I had ever seen. Of course, it is actually complete crap. But that's how good I felt with
Nina.
You have got used to my unhappy endings by now and so you won't be surprised that Nina soon
changed me for another model.
In fairness, I was chasing every girl in sight whilst I was with her. But from what I hear, Nina was
neither faithful nor monogamous to anyone in those days.
Nina's favourite record was 'Tainted Love' by Soft Cell. The first night we were together, she took that
record from one of her DJ cases and played it. I always think of her when I hear that record.
I experienced more of Finland's sexual liberalism when I got back and was shown to Jyrki's room in
the family home, where I would be sleeping. On the shelf, on full display was around a hundred
pornographic magazines. Add the fact that pornography was shown on TV at night and the current
'Miss Finland' lived across the road and all I could think was 'What a place!'
However, I soon learned that Finland is not that liberal. Drinking in the street was illegal and the
Police would not hesitate to challenge you.
They would usually take the alcohol and pour it away in front of you, but if they didn't like the look of
you, you could find yourself in a cell until a fine was paid. Any kind of rowdy behaviour was treated
in the same way by Finland's officious Police force.
In neighbouring Sweden I saw a homeless man being pushed around by the Police and eventually
kicked whilst he was on the floor. The man had not done anything, other than try and sleep in a
railway station.
I was also challenged by a train full of passengers for smoking on a train in Sweden, I didn't know
that it wasn't allowed, but I was impressed by the 'people power'.
So, my advice is don't go to Scandinavia excepting Sodom and Gomorrah, these are fairly strict
regimes in some ways.
After a few days, Jyrki was given leave from the army and he arrived home. From then on I
experienced the delights of this fantastic country.
Finland was Funland to me.
The Finns have a great dry sense of humour, they drink like fish and they travel hundreds of miles
across their country just to go to a pub gig.
I went to open air Rock and Roll festivals attended by thousands. We were constantly driving day and
night to get to gigs. Finland had a population of 5 million and a land mass three times the size of
Britain, so there was a lot of traveling to do.
Everywhere I went people were kind. Of course, I had the novelty value and that made people
interested in me, but I never saw one fight in the 12 months I was in Finland. Esa told me that he had
never seen a fight in his life in a club.
My novelty value sometimes backfired when people thought I was pretending to be English, one pub
barred me! Young Finns would sometimes speak English to annoy their elders, as older people would
often not know much English, some older people thought that was what I was doing and took
exception.
Finland changed my view of the world. Functional families, no violence, beautiful women, 1000s of
Rock and Roll fans!
Not all Finns are happy of course and they have the same problems as the rest of us, but their culture
is undeniably gentler.
Esa had a room in his family home with a gallery. The room had polished wooden floors. In the
corner there were drum kits and guitars.
The idea to start a band was an obvious one. Jyrki and Esa already had a band called 'The Rage'. It was
decided that I would be the singer. I don't expect the decision was taken on the basis of my voice, but
more likely because I was English (at least they thought I was). Esa showed me videos of The Rage
and they were a terrific group.
After some rehearsals in Jyrki's house it was decided that we would go to a studio and rehearse there.
We were given instructions not to touch anything. Unfortunately this was also the night that Jyrki
decided to introduce me to Finnish moonshine called 'Kilju". The irony that this word spells 'kill you'
is not lost on me.
We were 'off our heads' and what ensued was worthy of a 'carry on' movie.
At first we behaved, but then I broke the mic stand by leaning on it and Jyrki decided to 'fix it'. Jyrki
also decided that the 'no smoking' policy did not apply to him and managed to burn the carpet. I was
so drunk, I collapsed a few times knocking equipment over.
Eventually, we 'tidied' the place and left to stagger home.
It turned out that this studio was owned by Anja's father. I am glad that I didn't understand Finnish
because he was in an absolute rage when he discovered the mess and damage in his studio. To put it
simply, he thought we were third-rate waster's that would never work in any studio again.
He was right. We cost ourselves a rehearsal space and the goodwill of an important music industry
link.
This shameful experience did nothing to improve us and we carried on getting drunk, chasing girls
and dancing to Rockabilly records.
I regret now that I didn't take advantage of some of the opportunities we had in Finland, but most of
all I regret behaving so badly and being such a waster.
I left Finland a different person. I had seen that there was a 'big wide world' out there.
Esa and Jyrki are still active in the Finnish music scene. Anja's pop career ended in the 80s.
Warehouse Parties
Warehouse parties were a phenomenon in those days. People would find derelict warehouses and use
them to hold large parties. There would be clothes stalls, beer for sale, food, etc.
If the Police found out that a party was planned they would dig up the floor. I remember arriving at a
party and there was no-one there. We looked through the windows of the warehouse and the floor had
been completely dug up!
Weekenders
As the name suggests, weekenders were weekend Rockabilly events held in coastal resorts. Fans from
all the UK and Europe would attend and see dozens of bands, get very drunk, tattooed, buy clothes,
fall over and go home.
Most people have very fond memories of these events and they still take place today. This was not a
new idea, the Teddy Boys had weekenders, as depicted in the Movie 'Blue Suede Shoes'.
However, no book can be all-encompassing and I will not be delving into weekenders in this book.
REUNION
December 2005 and I am heading down to the Dingwalls Christmas Party.
I arranged to meet Belfast Brian at the Elephant's Head pub first. The Elephant's Head is just a few
minutes from Dingwalls.
I drive to the railway station and leave my car in the long stay car park. I put my ipod on and take the
train to Waterloo. On my ipod, Paul Roman sings 'it's been a long time coming and that's for sure'
(New Generation - The Quakes)
Yes, it has.
Once in Waterloo, I took the underground to Camden. Being on the underground was an unusually
pleasant experience today. I could see and hear my 18 year old self clowning around on the
underground with the lads on the way to Dingwalls, all those years ago. We would drink beer and tell
stories and laugh at all the 'smoothies'.
Camden was familiar, even after 16 years. It looked and smelt the same. It was a bustling little town,
full of markets and exotic looking people.
I found the pub and went inside. Before long, Brian, Julie and Gerry entered.
I remembered Brian as one of the 'Irish' lads. He was still with the same girl, Julie, and his old pal
Gerry was over from Ireland. I hadn't seen Brian for at least 16 years.
All three looked surprisingly youthful. Brian and Gerry had remarkably thick black hair slicked up
into gravity defying quiffs.
However, I was soon to find out that most old Rockabillies are more like me, overweight and balding.
The conversation with Brian, Julie and Gerry was surprisingly natural and I felt as if I spoke to them
every week.
Brian reminisced with great enthusiasm about the 'alldayers' and we all joined in. We spoke about old
friends, DJs, Bands and clubs.
Brian did a great job introducing me to people who wanted to talk to me about this book.
Before long it was time to take the short walk to Dingwalls.
I was unable to recognise the 'new' Dingwalls. Brian explained that the building had been extensively
refurbished and restructured, so the 'old' Dingwalls is still there, somewhere.
DJ Cosmic Keith had the place rockin' and people danced with a youth and vigour that belied their
age.
The average age was around 40. Not what I had hoped for.
Everyone I spoke to said there were few new recruits to Rockabilly land, just us old timers.
There were a few youngsters, who all stormed the front of the stage and screamed and danced to the
equally youthful 'Slim Slip and The Sliders'.
Standing watching them, I knew that they felt it was their band, their club, their night, just as we had in
1985. I felt genuine envy.
I couldn't help but notice that the Rockabilly, Teddy Boy and Psychobilly scenes appeared to have
merged.
I saw a lot of familiar faces from all three scenes. Back in the 80s these people wouldn't have been
seen dead in the same street together!
Everyone I spoke to was enthusiastic about the 'scene' and said it's just a matter of time before it gets
big again.
I was still struggling with the fact that the scenes had merged! Had anyone else noticed?
When did this happen?
Purist
Revivalist
Futurist
Futurist becomes purist and revivalist eventually.
Punks, Mods, Psychos, Teds, Alternatives, What-Have-You's all mix these days.
Purism always doomed Rockabilly ... Non-Rockabillies were unwelcome. The music COULD NOT
spread.
So, why do I find myself mourning the purism of my youth.
Perhaps because I sense that this change is due to the small numbers of people left and not because of
some fancy new musical vision.
But perhaps mostly, because I miss the certainty!
The fantasy becomes complete only when everyone shares the same faith.
I left knowing that Rockabilly was still the best music in the world and that rockin' people were still
the best people in the world.
Interview with Mac Curtis March 2006
Rockabilly? Did you call it Rockabilly back then?
I moved to a new High School in Weatherford, Texas 1954. I met some guys that were starting a
band. My background was Hillbilly music, but I always leaned toward the upbeat, novelty and Boogie-
Woogie type of sounds.
No we didn't call it Rockabilly... that term didn't exist at the time. Usually they called us Country Cats.
*What artists did you like?
Merle Travis, Hank Thompson, Hank Williams, Bob Wills, Marty Robbins (he had a record called
"That's Alright Mama") I began singing it in our act and, shortly after, heard the Elvis version.
*What sort of gigs did you do in the 50s / who with?
We first played Hillbilly at Civic Clubs, local festivals and school programs. In 1955 we met Johnny
Carroll. He was doing similar music to ours. He proposed that we team up and promote shows in
other towns throughout Texas at school auditoriums, sports arenas, theaters ... anywhere we could
bring in a crowd
*Did you know Charlie Feathers?
Yeah, it's on CD now as you probably know. No I never met Charlie. I believe that because we shared
the Rockabilly Kings album and that I recorded one of his songs many people assumed that we were
buddies.
*How did the Mac Curtis revival come about? Did you know people were playing your music in clubs
over here?
Ronny Weiser informed me that there was a lot of action in UK and Europe. He introduced me to Ray
Campi. We all worked together on some recordings. Ronny released them overseas. His distributor at
the time (the late David Harris) put together a tour. That tour resulted in a big deal for all of us!
*How did you get to know Ronny Weiser?
I was working on a radio station in Los Angeles in 1972. Ronny called me, asked for an interview for
his magazine. We did it, struck up a friendship, and I wound up doing about three albums for his
Rollin Rock label.
*What date did you first come to the UK?
Mid-December 1977. It was a 2 week tour.
*Can you remember playing in Birmingham? What was it like?
As I recall it was around Easter weekend 1986 that I played 'The Powerhouse" in Birmingham.
*Can you remember who else was on the bill? Were You Nervous?
I arrived late due the driver losing his way! Don't recall anyone else who may have been there earlier.
I was not nervous. The band had apparently worked on my tunes because they gave a very good
backup job.
*Do you have any specific memories of those days, the 80s, coming to this country and playing?
(Places you played, what were the crowds like, your impression of Britain etc)
I love Great Britain and the people there. I never thought I would get to return to those shores so
many times throughout the years. My hope is that it lasts for many years to come. The crowds are so
appreciative and supportive of our music. I am impressed that many young cats discover the sound
and become lifelong fans.
*We were all pretty amazed to see you, because all of you American Rockabillies were just in our
imaginations up until then. Were you equally surprised to see us with our Pompadours and 50s
clothes?
Hey it was like stepping back in time! I was thrilled and so were the other members of the shows.
*And finally, Ray Campi says you will be playing VLV, is this so?
I played VLV in the late 90and have never been asked to return. I don't know why 'cause the audience
loved the show.
My thanks to you and all your mates who have supported me and Rockabilly music all these years.
Keep on Rockin
Charlie Feathers
'On more than one occasion, I remember my Father stating that the fans and people overseas knew
more and appreciated music more so than people in the US. I realize he made this statement because
he and the recordings he made were finally getting some recognition there that he never got here in
the US.
The very first show he played was at the Rainbow Theatre in London in 1977. My Father said it was
like the 1950s all over again, he couldn't believe the huge reception he was receiving there. I
remember the night he returned from this show and remember him saying he had bodyguards around
him and fans were reaching for him and he said 'you would have thought I was Elvis' and laughed, I
know he loved every moment of it.
My Father never liked to fly but he always enjoyed so much when he played the London Rockabilly
scene, he loved the fans and felt the love in return and the appreciation they had for him and for
Rockabilly music.
Kindest regards,
- Wanda Feathers
TOP 10s from the Rockabilly Underground - London 1980s (most heard songs in clubs)
Perry:
Long Black Nylons - Ray Ellington
Lucky Lips - Ruth Brown (cos you got great big tits...)
Go Way Hound Dog - Cliff Johnson
Hoy Hoy - Collins Kids
Movin' - Bill Black's Combo
Too Much Monkey Business - Chuck Berry
She's The Most- 5 Keys
Cat Talk - Lew Williams
Now Dig This - Jodimars
Crash The Party Benny Joy
Mark Lee Allen:
1) Benny Joy - Miss Bobby Sox
2) Ric Cartey - Scratchin On My Screen
3) Ray Campi - How Low Can You Feel
4) Levi Dexter - It's The Beat
5) Hasil Adkins - Chicken Walk
6) Slim Harpo - Shake Your Hips
7) The Valiants - Freida Freid
8) Johnny Carroll - Hot Rock
9) Doctor Ross - Cat Squirrel
10) Don Willis - Boppin' High School Baby
Dave:
Tornado - The Jiants
She's The Most (or Cheese on toast as was popular to sing instead!!) - The 5 Keys
Salty Boogie - Little Jimmy Dickens
Robinson Crusoe Bop - Sonny Cole
Convertible Car - Wally Hughes
Cat Squirrel- Dr Ross
Wildcat Tamer - Tarheel Slim
Lovers Question - Clyde McPhatter
Please Don't Leave Me - (The Humming Version as opposed to the singing version! Johnny Burnette
& the Rock & Roll Trio)
Chicken & The Hawk - Big Joe Turner
Little Carl:
Ray Pate - The Slide
Charlie Feathers - One Hand Loose
Curtis Gordon - Draggin'
Charlie Feathers - Tongue Tied Jill
Sonny Burgess - Ain't Got a Thing
Tennessee Wig Walk by Bonnie Lou (I hated / still hate that record)
Keith Courvale - Trapped Love
Tarheel Slim - No9 Train
Mumbles- Johnny Bachelor
Buddy Holly - Changing All Those Changes
Mark Lambourne:
Miss Bobby Sox - Benny Joy
How Low Can You Feel - Ray Campi
Primitive love - Tom Reeves
Jungle Rock - Hank Mizell
Grandaddy's Rockin' - Mac Curtis
We Wanna Boogie - Sonny Burgess
Baby Please Don't Go - Billy Lee Riley
Brown Eyed Handsome Man - Buddy Holly
Long Blond Hair - Johnny Powers
That Certain Female - Charlie Feathers
Tom Ingram:
I've Got Love If You Want It - Warren Smith
Rock Billy Boogie - Johnny Burnette
Tornado - The Jiants
Can't Find The Doorknob - Jimmy & Johnny
Slow Down - Larry Williams
She's The Most - 5 Keys
Screamin' Mimi Jeannie Mickey Hawks
Go Girl Go - Jett Powers
Justine - Don & Dewey
Rock Around The Town - Dean Beard
But there's a 100 more that could be on this list.....
Billy Jones:
Born To Love One Woman - Ric Cartey
All You Gotta Do - Tracy Pendarvis
Long Blond Hair - Johnny Powers
Thunder and Lightning - Tooter Boatman
Let Me Slide - Jimmy Patton
Stutterin Papa - Buck Griffin
Boppin To Grandfather's Clock - Sidney Jo Lewis (aka Hardrock Gunter)
Tornado - The Jiants
That Certain Female - Charlie Feathers
School Of Rock and Roll - Gene Summers
Tornado - Dale Hawkins
Johnny Valentine - Andy Anderson
VOLKER:
HOT & COLD / MARVIN RAINWATER
HER LOVE RUBBED OFF / CARL PERKINS
BOPPIN' TO GRANDFATHERS CLOCK / SIDNEY JO LEWIS
MAD MAN / JIMMY WAGES
HALF HEARTED LOVE /MAC CURTIS
I FLIPPED / GENE VINCENT
HONEY HUSH / JOHNNY BURNETTE TRIO
CHEROKEE DANCE / BOB LANDERS
HOW COME IT / THUMPER JONES
LOVE ME / THE PHANTOM
REALLY ROCKABILLY
We must lose this belief that everything '50s' is somehow innately superior to music made later.
Paul Roman:
'I was expecting to walk into a club and hear The Polecats, Restless AND Johnny Burnette / Gene
Vincent. The clubs played absolutely NO modern records and hardly any of the standard fare such as
Eddie Cochran - Vincent -Elvis - all the "surface" stuff. I think because these people got bored with
that long ago and were now digging into obscure stuff that sounded just as tough and cool as all the
others.'
I am going to shock you now.
I am a real Rockabilly, no-one is more Rockabilly than me!
Not even Charlie Feathers! (gasp)
Not even Elvis! (gasp)
I am not disrespecting these legends, I am pointing out a simple fact. We love the music. We live the
life.
We are not fly-by-nights trying our hands at this 'Rockabilly stuff to make money or be fashionable,
unlike many 50s acts.
Here's shock number two.
A lot of 50s music is crap! (double gasp)
It goes without saying that a lot of it is brilliant! Not just brilliant but unmatched!
Are you ready for shock number three, or do you want a break and a stiff drink?
Some Rockabilly from the 70s, 80s, 90 and 00s is as good as the 50s stuff, equally valid, equally
credible (triple gasp)
We have to STOP living in the past. Rockabilly is as relevant and vibrant today as it was when it was
first born.
Do you ever hear anyone saying the plethora of mop-topped Rickenbacker strumming chart acts are
something to do with the 60s? No you don't, because the music industry constantly promotes this type
of music and presents it as relevant, cool and sexy.
I am not against ANY type of music, but neither do I think that John Lennon's 'Imagine' is the best
song ever made.
That's multi-millionaire rock star John Lennon I am talking about, you know, the one that wants a
world without possessions.
Ok, so I digress and I am being sarcastic, but read what Tom Ingram has to say on this:
'I think the media does not understand the Rockabilly scene rather than hate it. They are always
looking for a story and we are generally not willing to give one. The Teds in the 70s were different.
The scene had people who generated PR for the Teds. Whenever there was anything newsworthy
happening on the ted scene, the media was there ready to record it. Also, there is no money in the
Rockabilly scene.'
When people say we are something to do with the 50s, it isn't a compliment, it's a put-down. It's a way
of saying we are irrelevant.
Tim Polecat was blunt and to the point:
'I think they hate anything that may be considered old fashion or retro .But what do they know? After
all, most people in the media are complete wankers.'
50s clothes and hair are supercool and so is the music, we can keep all of it, but we have to add to it.
We have to pay back the loan now.
Do you think Charlie Feathers 'Stutterin Cindy' was recorded in the 50s? It was recorded in the 1968!
Is there a more rockin' song than that?
Paul:
'I still did not understand why the scene was so divided and why modern records were not played. In
my head, I pictured a European scene where sharp dressed cats bopped to 'Tainted Love' by Dave
Phillips. I saw many of the same people when Restless would play so why not play their records in a
club? It made no sense to me and it was hard to find anyone to play with musically who was into
something more than 're-creating' the 50s.'
I collect records. Records are aesthetically pleasing, but I also use CDs, computers, ipods, mp3s etc.
When will we see someone DJing with mp3s at a Rockabilly club?
Do you really think that the many acts worldwide who have played Rockabilly for 20 or 30 years are
less valid than some 50s acts that played Rockabilly for just 30 months (or thirty minutes in some
cases)?
No-one can replace Charlie Feathers or Elvis but we have our own scene with our own heroes.
Those bands / DJs and promoters working their socks off all year round to entertain us deserve a bit
more respect and credit than 'you ain't 50s'.
And when someone says that to me, I just reply, 'neither are you mate'.
I travelled to Birmingham on Tuesday 4th April 2006 to see the old place and jog my memory.
As I was walking back to the railway station I saw a sticker on a car boot that read
'Rock and Roll Will Never Die'
The End?
What Am I?
I was always motivated by music from the 50s, and I guess I can be called a 'Rockabilly'. Putting your
finger on what is a Rockabilly is very complex, as I love Blues, Western Bop, Country, Hillbilly, 60s
Garage and Instrumentals, Classic Rock and Roll even Jazz and Be Bop!!!
So what am I?
I guess as a kid (13 to 18) I was a Rockabilly with all the other 1000s of quiffed kids of the age and
I've always dressed in a style to this day recognised as a Rockabilly. Is a punk a person who only likes
punk? Is a Rockabilly only into Rockabilly? It's a strange one, However, today at the age of 43 with 30
years behind me of rockin and rollin, I guess I am still a 'Rock-a-Billy', I am certainly not a Ted, nor
ever have been, though the two are of the same school and are not worlds apart.
I am a lover of music . I believe there are 2 types of music, good and bad! All genres of 40s, 50s and
60s music have their fair amount of rubbish, be it Doo Wop, Rock and Roll, even awful Rockabilly,
but within all of those genres are some outstanding classic masterpieces and it's those cool songs that
grab me. I have always been a big fan of the giants, the true leaders, Buddy Holly, Elvis, Little
Richard, Jerry Lee, Johnny Cash, Bill Haley, all true leaders in their field.
Then the ones that almost made it like Larry Williams, Janis Martin, Don and Dewey, Sonny Burgess
and Billy Lee Riley to name a few.
Then you go further back, digging the roots of what them guys were listening too like Hank
Williams, Wynonie Harris, Big Joe Turner, John Lee Hooker, the Delmore Brothers, the Hillbilly's
and the Bluesmen.
Then you can go forward and see it split into other genres with the likes of Link Wray, Dick Dale,
The Sonics etc
Once you've seeped all of that into your blood and memory bank you are halfway there, the rest takes
a lifetime of understanding the time of these people, how they lived, their religious backgrounds and
poverty, how hard they struggled and what made them tick!!!
How did so many people use religion, poverty and hardship yet turn it around to make truly great
honest music for us today to love, enjoy and appreciate.
It's quite unique that one generation of people gave so much musically in such a short space of time
and in doing so changed music and styles forever!
Add all the thousands of people they too inspired to forge Rock and Roll bands all around the world
and all the DJs who continue to keep that spirit alive and well, then and only then you can begin to
understand the true meaning of being a real Rock and Roll fan, a Rock and Roll fan who has lived and
breathed that type of life, the same as the heroes, the same as the wild bastards who were just fooling
around and having fun doing what they wanted to do, wild drunken nights, hot wild partys, long sober
days, broken hearts and wild passions, write it down, sing about it, tell the stories and tell the world
how you feel.
Someone out there will hear you and understand completely from the first howl till the last guitar
solo ... now that's Rock and Roll!!!!! ... and I love it!!!
Mouse
x
All the photographs used in this book were used with kind permission of their respective copyright
owners.
In most cases the original photographs were not available, only poor copies or scans.
Every effort has been made to enhance photographs for reader enjoyment.
All the vinyl and CDs mentioned in this book are available from Bob at:
www.bim-bam.com
I am grateful to the late Terry Jones for the many hours he spent chatting with me and educating me
about great Rock and Roll records.