The Whole Story of The Famous Kinema Ballroom in Dunfermline (now in its 78th Year!)
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| Biogz 'W'
Here you will find some short biographies (biogz) of solo artists whose surname commences with this letter or bands with names commencing with this letter (omitting any commonly used prefix such as 'The'). Click on the name below or scroll down the page at your leisure. John Walker
Born John Maus in New York in 1943, John Walker was destined to become a musical superstar and icon of the 60s Hollywood and London rock and roll scene. The combination of John’s musical abilities and drop-dead gorgeous looks proved irresistible to promoters, managers, agents and fans around the world. By the time he was eighteen, John had given guitar lessons to younger friends in his Calfornia neighbourhood – Carl Wilson, Brian Wilson, and David Marks – who practised their new surf music in John’s family garage, incorporating some of the guitar riffs John had taught them in their music and who went on to form The Beach Boys. By nineteen, John was recording at the famed “Goldstar” Studios in Hollywood with Phil Spector and other hot new musicians and producers. During the early 60s, John and his bands were drawing huge crowds at the trendiest clubs in Hollywood with regular visits in the audience from The Rolling Stones, and other new rock bands who were checking out the California rock scene. Soon, John would be jamming every afternoon with Jimi Hendrix in Europe and modelling the latest London fashions, in Penthouse and other popular fan magazines. In 1964, John Walker formed the legendary Walker Brothers in Hollywood, eventually replacing original drummer Al “Tiny” Schneider (who went on to tour with The Everly Brothers), with P.J Proby’s drummer, Gary Leeds. The band met with great success there before heading off to England in 1965 and producing chart topping hits such as the No.1s: “Make It Easy On Yourself ” and “The Sun Ain’t Gonna Shine Anymore” and other classics – “My Ship Is Comin In” and “No Regrets”. John’s solo hits include “Annabella”, “Woman” and “Kentucky Woman”. John and the other two Walker Brothers, Scott and Gary, toured extensively throughout Europe, Asia, and Australia, winning the hearts of many frenzied and devoted fans throughout the world. John and The Walker Brothers headlined shows with Jimi Hendrix (introducing Hendrix and his band, The Jimi Hendrix Experience to European crowds for the first time), Roy Orbison, Eric Clapton Cream, Tom Jones, Engelbert Humperdinck, Lulu, Cat Stevens….the list goes on. He appeared on countless 60s television shows in America and Europe including “The Sandie Shaw Show”, “Shindig”, “Top Of the Pops” and “Beat Club”. John performed for the royal family at The Royal Variety Performance Show and has had a longstanding involvement with a variety of charitable causes in the US and in Europe, particularly those for children. In the 70s, John turned his attention to the recording process and now has his own recording / mixing / and mastering studio. He is a sought after consultant for upcoming bands, solo performers and recording / studio technicians. He formed his own label – “Arena” – in the mid - 90s. Apart from his well - known vocals, John is a critically acclaimed songwriter and a blistering blues/rock guitarist. His latest CD – “Just For You” was released in May 2007. He was a featured artiste on the PBS “British Invasion” special aired nationally on US television in 2007 and he toured in the UK, by popular demand, for another Solid Silver Sixties Tour, ending at the London Palladium. Info courtesy of: John Walker's myspace
Bob Wallis & His Storyville Jazzmen
Bob Wallis - trumpet Part of the British trad jazz boom of the late 50s / early 60s, Bob was accompanied by the Storyville Jazzmen (originally Hugh Rainey's All Stars) who recorded for Pye Jazz between 1960 and 1962 where they made 3 albums and a few singles of which one was a hit. The band also found time to appear in the film, “It’s Trad Dad.” Ginger Baker (of 'Cream') was their drummer around 1956/57. He spent a year on the road with them having secured the position after only three months of drumming experience! If you can add any further information to this piece please contact me here
Sandy Coghill "Originally formed by Sandy Coghill and Freeland Barbour (who had been playing with Silly Wizard) at the Kinross Folk festival 1977, and have since then, with a changed line-up, been playing for dances throughout Scotland." - Liner notes from 'Looking for a Partner, 1st album, 1978. Album releases include: Looking for a Partner / Second Chance / Full Throttle! & The Highlander's Companion. If you can add any further information to this piece please contact me here
Ellie was born and raised in the tiny Scottish seaside town of Gourock (Greenock). However, she was soon on stage going through a formative training which would lead to a promising career. Ms. Warren readily admits that her parents initially gave her a nudge of encouragement into showbiz. "I was too young to be totally aware of what was going on around me, but I definately wasn't one of those showbiz kids that are bullied into performing," says Ellie. "Without trying to sound conceited, I've always been talented as a singer. It's just that it came naturally without tuition."
Geno Washington & the Ram Jam Band
Geno Washington and The Ram Jam Band had two of the biggest selling UK albums of the sixties. Amazingly both of these were live albums. Hand Clappin, Foot Stompin, Funky Butt Live was in the album charts for 48 weeks of the year 1966 and was only out-sold by The Sound of Music and Bridge over Troubled Water. US soul acts rarely visited the UK and, having come over as a part of the USAir force and stayed, Geno was our soul man. His level of touring and the high energy of his gigs was, and still is (as immortalized by Dexy's Midnight Runners in the 80's hit Geno) the stuff of legends. During his sets, the beat was continuous and the hits were incessant. It was really Geno who pioneered this Go, Go style of performing and the audiences simply could not get enough. With the likes of Jimi Hendrix, Cream, and Pink Floyd in support Geno could never relax. Eventually, having made Pye records and numerous managers millions of pounds, Geno decided a break might be a good idea. Rock and Roll had taken its toll and being on the road with every sixties act you care to think of, had finally drained the mighty Washington batteries. Geno did do some recordings in the States in the seventies, some never released stuff with the Beach Boys for example, but he largely retreated from the world of show biz and studied hypnosis and meditation. These spiritual meanderings were abruptly halted when, in 1980 Blighty beckoned once more. A call came from old friends in the UK that a tribute called Geno (mentioned above) had gone to number one in the charts. In interviews, the singer, Kevin Roland, was speaking of this legendary soul man, whose name they used to chant up and down the land and public interest in Geno was growing for a new generation. Soon, Anglophile Geno was back in the UK and back on the road. The arrival of the nineties saw Geno go back to his roots (he was a Blues singer originally in his home, town of Evansville, Indiana) doing a show he called Cut Loose and Singing the Blues. This was a great success and spawned the band The Purple Aces. He then took this band to Edinburgh for the Fringe Festival, had a great reaction and a three-week sell-out run. This in turn resulted in collaboration with Ray Fenwick (The Spencer Davies Band) and an album called Change Your Thoughts You Change Your Life. The new millennium kicked of for Geno with the desire to "get some of this stuff down on tape". Following collaborations Adamski, Gabrielle and a duet with Kermit (Black Grape) on the forthcoming BIG DOG album on Zomba records. Geno returned to the recording studio. The result is "the most righteous sounding s**t I've ever been involved in." Info from: www.genowashington.com
Alistair 'Ali' Watson was from Edinburgh and was half of The Cottars who were active particularly in the late sixties / early seventies. They recorded one eponymous album 'The Cotters'. He was a blessed with a strong, sure voice and was reportedly a really nice guy. Alistair Watson left the Scottish music scene in 1980 and emigrated to Western Australia. More recently he became ill with cancer and died in 2001 having visited Scotland earlier that year. His partner in The Cotters, Alex Sutherland, also died of cancer in the mid 1980s. He was a piano-tuner to trade while Ali had had several jobs - notably a deep-sea mariner. Info courtesy of: www.nigelgatherer.com
Bruce was invited to form a new band with ex ‘Skid’ Stuart Adamson in 1981 and so the pair laid the foundations of Big Country’s debut album ‘The Crossing’ in Townhill, a small mining village on the outskirts of Dunfermline in Fife. After something of a false start with the other original members, bassist Tony Butler and drummer Mark Brzezicki were drafted in after cutting their teeth with Pete Townshend on his ‘Empty Glass’ and ‘Chinese Eyes’ albums.
The band had opened for bands such as The Jam, Alice Cooper and U2 before hitting the charts world wide with songs such as, ‘Fields Of Fire’, ‘Chance’, ‘Look Away’ and their signature song ‘In A Big Country’. They were nominated for two Grammy awards in 1983 and performed at the Shrine Auditorium LA in front of a star-studded audience.
Throughout their twenty year career Big Country sold 10 million albums and supported David Bowie, The Rolling Stones and Elton John as well as headlining in their own right.
Despite a lull in the late 80’s the band made a comeback in the 90’s with their ‘Buffalo Skinners’ album. They continued up until 2000 but decided that after 20 years touring and recording the band should rest and continue on solo projects.
In December 2001 Stuart Adamson tragically passed away and Bruce along with Ian Grant put together a memorial concert for their friend in Glasgow’s world-famous Barrowlands. On the night, they held a special reunion of Stuart’s previous band the ‘Skids’ for a spectacular trip down memory lane that included hits such as ‘Into The Valley’, ‘Saints Are Coming’ and ‘Masquerade’. This led to Bruce being asked to direct a benefit gig for another Scottish rock legend, Frankie Miller.
In 2002 Bruce hooked up with Fish (ex Marillion) and co–wrote his critically acclaimed ‘Field Of Crows’ album. The pair of them armed with a 7-piece band toured Europe. Since then Bruce has added his trademark guitar sound to a multitude of diverse artists such as Dead Men Walking, The Casbah Club, Four Good Men and Waking The Witch.
Jamie’s first professional show with Bruce was on the fourth of July at the Glen Pavilion in Dunfermline. It was the Skids 30th anniversary celebrations culminating in an explosive finale at the T in the Park festival three days later.
Bruce & Jamie continue with some low-key performances and also record. The Skids reformed once more in their spiritual home Dunfermline at the recently refurbished Alhambra Theatre and recorded a live DVD and Big Country also played the same venue for their 30th anniversary. Further Big Country gigs and Skids gigs continue on the rumour mill.
Bruce now has a new outfit called Electric Circus.
Bruce also performed at the Kinema with his first band Delinx.
Info courtesy of http://bruceandjamiewatson.co.uk/
A Crosshill man whose musical skills were to make him known throughout Fife has died aged 97 (November 2010). Ken Watson was born in the village’s Park Street and was brought up in a family of seven. He was educated at St Kenneth’s Primary School, in Lochore, and St Columba’s High School, in Cowdenbeath, but he had to leave school at the tender age of 13 to work in Glencraig Colliery to earn wages to help support his widowed mother in the harsh days of the early 1920s.
John Watt ('The Muchty Megastar')
Recommend this fascinating 7-part John Watt interview by Brian Noble
Author of 'Pittenweem Jo', 'John Thomson' and of course, 'The Kelty Clippie'. In Rab Noakes' opinion John Watt is, as to many, a totally unique character and is arguably Fife's foremost contemporary chronicler in song. His songs have been enjoyed by many over the years but remain fresh and new each time they are aired. They were written over a period of nearly 40 years although the timescale covered in the subject matter is much longer than that. John Watt is a charismatic character - as zany as many of the characters he writes about - and a prolific writer. In the tradition of the 'people's poets' his subject matter is wide-ranging, taking in all kinds of issues but always with a local flavour and with a streetwise perspective. John is a natural wordsmith and most of the time he has chosen song as the vehicle to bear his words. Traditional song has had a great influence on John and he has had a greater influence on the Scottish folksong revival than most people would appreciate. The overriding image of John is of fun, but below the surface lies some sharp political observation and social comment. His subject matter might mitigate against his name being mentioned alongside such luminaries as Sorley MacLean, Norman MacCaig and even Robert Burns, but it would be a grave misjudgement of his talent if he was not recognised at this level. John Watt is a native of Dunfermline, Fife, and now lives in Milnathort. He has been involved in the Scottish folksong movement for over thirty years. A past Chairman of The Traditional Music and Song Association of Scotland, he has presented numerous documentaries on radio, including 'Fife Connection', 'Howe of Fife Connection' and 'The Fifty-Fifty Ball'. He has also presented 'Celtic Horizons' for BBC radio and 'Fife's Got Everything' for the Odyssey series produced by Billy Kay. He has lectured for the Association of Scottish Literary Studies on Fife Poets and Song-writers, tutored for The Workers Educational Association in Creative Writing and Musical Appreciation and is Chairman of the Milnathort based Love and Liberty Theatre Company. John is a member of Milnathort Folk Festival Committee. The festival is not a high profile affair; rather, it is a local festival firmly rooted in the community. This is typical of John. The festival raises funds with activities such as Duck Races and engages the local children with a Girr & Cleek championship, and has a 'no stars' policy with all the performers working the sessions in the local pubs on a rotation basis? A singer raconteur and composer, his work has been recorded by artists in Scotland, Ireland, Denmark and Canada. Prior to this year he had recorded only one album, 'Shores of the Forth' along with Davey Stewart, and although many others had recorded his songs, even on this album he steered clear of his own songs leaving them to Davie. The fact that there had not been many recordings of John singing his own songs was appreciated by Rab Noakes who was determined to put matters right. Rab is a talented writer himself and his respect for John is immense. He has shown the extent of that respect in the approach he took recording John's latest album, 'Heroes'. No shortcuts were taken; he assembled a group of talented musicians who were totally sympathetic to John's songs, giving them the time to do the job and making no attempt to overcome any of the limitations of John's voice. His grandfather, David Watt, originally hailed from Leith, and came across to Fife in 1882 working as a Commercial Traveller for the firm of John Dickinson & Co Ltd, manufacturers of stationery, and in 1881 he founded the printing firm of David Watt & Sons in Dunfermline. He was to influence John from a very early age. At the age of 6, John received 6d from his grandfather for learning the 23rd Psalm 'The Lord's My Shepherd' by heart and has remembered it ever since. As a 'people's poet', John's subject matter includes characters who are not particularly famous outside their own area. Some are still living, some are dead, some he knows, or knew, some he was told about. Through being born and through being involved in folk music for over 30 years as a performer, singer and composer, many other characters have crossed his path and have been the subject of his pen. Stories flow out of John of local characters such as Willie Deuchars who used to walk everywhere to football games; Cowdenbeath, Alloa, Methil, Stirling, and according to John's father, Wembley. He recalls a character, Johnny Purvis, who used to sell papers outside the Regal Picture House and Bobby Broon who John remembers seeing carrying trays of flowers and plants and was reported to have been gassed during the First World War. He talks about a witty and brilliant cartoonist, Bud Neil, who peculiarly wore basketball boots and jeans despite being in his 50's. Another character whom he recalls in detail and about whom he wrote a song was Ziggy McGiff. He was part of the group of people who John remembers hanging around Dunfermline on a Saturday morning. The group was mainly in 'Teddyboy' dress and spoke in 'prison lingo'. Ziggy was a leading light in this band, and at Christmas time was seen selling "holly with berries" on the steps of Woolworth's on the High Street. Ziggy became the subject of the song that bears his name, Ziggy McGiff. Of all the characters who have influenced John, members of his own family played a significant part. Info from: www.folkmusic.net John was a member of The Great Fife Roadshow alongside others such as: Barbara Dickson, Jimmy Hutchison, Rab Noakes, Pete Sheppard, Artie Trezise, Cilla Fisher, Davey Stewart, Davie Craig, Noel Farrow and Jim Herd playing folk clubs & village halls. At one of their performances John persuaded Barbara Dickson to dress up in a clippie's uniform for a performance of 'The Kelty Clippie'.
Martin Gibney A Glenrothes group active around 1971. Info courtesy of: www.nigelgatherer.com If you can add any further information to this piece please contact me here
Sandra Lawrence - vocals Wee Papa Girl Rappers (aka ‘Wee Papa Girls’) were an early British female hip-hop rap duo from the late '80s / early '90s who are best known for their October 1988 #6 UK chart hit ‘Wee Rule’ though they had four other minor hits before they split. They also released two albums, ‘The Beat, The Rhythm, The Noise’ (1989) a #39 UK chart hit, and ‘Be Aware’ (1990). Although they made little long-term impact and are somewhat derided as pop lightweights now, several followers such as ‘TLC’ probably owe them some recognition for breaking new ground.
Hedy West was a banjo playing Appalachian style traditional folk singer/songwriter and political activist, born in Cartersville, Georgia on 6th April 1938. She was a part of the sixties European folk revival and spent long periods here in the UK. Her interest in traditional folk music was initially inspired by members of her own family including her banjo-playing grandmother (Lillie Mulkey West) who sang to the children, her well-known poet father, Don West and her Uncle Gus who was a popular local fiddler. Trained to play piano from age four, she would later teach herself banjo and was soon in demand, winning first prize in a folk song competition in Nashville, Tennessee. She then played coffee houses in Chicago and New York before appearing at a hootenanny in Carnegie Hall. Many US festival appearances and recordings followed including her eponymous LP ‘Hedy West’ and she co-wrote ‘500 miles’ with Bobby Bare & Charlie Williams. Towards the end of the 1960s she took up residence in London where she stayed for about seven years and toured extensively in Europe. She also lived in Germany for a short time, recording there too before returning to the USA and settling in Long Island. Sadly she died on 3rd July 2005.
Lorenzo Hall - vocals Well Red were a UK Electronic synth-pop duo. Lorenzo Hall later sang with Boy George, S’Express and Roachford while Richie Stevens has worked with Tina Turner, Simply Red, Oleta Adams, Joan Armatrading and Linton Kwesi Johnson. Albums
Frankie Miller - vocals Later: Westfarm Cottage was one of Frankie's early short-lived projects while still a teenager. They were formed after Miller left 'The Deljacks' and a soul outfit called 'Sock It To ‘Em JB' and 'The Stoics'. If you can add any further information to this piece please contact me here
Mike Whellans (‘The One-Man Blues Band’)
A long time fixture on the British and European club, concert, TV, radio & festival circuit, as a solo performer, band leader and session musician, and having toured in Canada and the USA, Mike Whellans is once again making his mark in the UK - topped off by going down a storm at the 2005 Glastonbury Festival. Born in the Borders at the end of WW2, Mike began his musical life in the late 1950s/early 1960s playing his fathers drum kit, and by the age of 14 was playing in local dance bands. In 1969 he decided to turn professional and very soon released a first solo album. In the early 1970s, Mike was a member of the traditional Scots-Irish band, Boys of the Lough, and worked in a duo with fellow-Boy Aly Bain for about three years, playing amazingly clean and crisp flat-pick guitar behind Aly's fiddle; a very dynamic duo! In the 1980's and 90's, Mike then moved to live in Denmark and toured all over Scandinavia and in Germany and the Low Countries, as well as working back in the UK with those madcap Scottish musos, The Vindscreen Vipers Skiffle Group (Tich Frier, Bill Nolan, Malky McCormack and the late Danny Kyle). Now, Mike's living back in the Scottish Borders again and working as Scotland's only (as far as we know) one-man blues band - and there aren't that many in the UK either - with his guitars, mouth-harps, vocals and drum-kit - and of course his show-stopping, "mouth percussion"; a real tour de force. Mike is an astounding guitar picker, equally at home on 6, 12 string or electric guitars, and is an amazing mouth-harp player too. And the other things he can do with his mouth? Well, you've just got to see and hear his vocal percussion to be convinced. Added to this; he sings, is a drummer of no slight talent, writes songs, seems to have boundless energy, and you've got a great entertainment in prospect with the most dynamic one-man blues band any side of the Forth delta. Instruments played: Electric & Acoustic Guitars, Mouth Harp, Drums, Percussion, Mouth Percussion. Info from: www.mikewhellans.com Mike played the ballroom thirteen times between 1969 & 1978.
Doreen Swan A folk duo. Doreen Swan appears occasionally on Watt Nicoll albums, e.g. 'WATTcha!' (1970). If you can add any further information to this piece please contact me here
Eddie McGuire - flute Scotland's traditional music ensemble were formed during the great surge of interest in traditional and Celtic music and song in the late 1960s. The group quickly evolved into a major force in the field. The Whistlebinkies led the revival in the use of the bellows-blown bagpipes in Scotland and were the first to combine the three national instruments: the fiddle, bagpipes and clarsach (small Scottish harp) in regular performance. Only authentic traditional instruments are used and where possible, the group prefers to play in an acoustic setting. The repertory is drawn from all periods of Scottish music and from all regions of the country. Members contribute new compositions within the tradition and the group is always ready to explore connections with other cultures. Arrangements develop in a workshop situation with each member bringing his or her own skills and ideas. The Whistlebinkies have toured extensively taking Scottish music to France, Germany, Italy, Finland, Iceland, Taiwan, Estonia and all the Celtic countries. In 1991 they were the first Scottish music group to tour The Peoples Republic of China. Recent festival appearances include the Edinburgh International Festival, the Edinburgh Festival Fringe, Glasgow Mayfest, the Hong Kong Folk Festival and the Festival Interceltique at Lorient, Brittany. In March 1996 the group made a highly successful contribution to the Scotland: Cultural Counterpoint festival at the Anderson Centre for the Arts, Binghamton University, New York State. In January 1995 the group were featured as the BBC Radio 3 'Artists of the Week'. August 1998 saw performances in Texas, at the Festival Interceltique, Lorient, Brittany and a show at the Edinburgh International Festival Fringe. Info courtesy of: www.whistlebinkies.net
Personnel included: Ian Clews (Clewsy) - vocals The Pathfinders emerged in 1965 in Glasgow, briefly changed their name to Jason's Flock in 1966, changed back to the original name in 1967 then following a move to London in 1968, tried White Trash, dropped the ‘White’ prefix and finally changed to Cody in 1970/71 before their final demise early 1973. See the whole Pathfinders story here Info courtesy of: www.mccartneyt.freeserve.co.uk
Maria Whittaker was born on 7th October 1969 in Hounslow, London. She was a highly popular topless model who often appeared on the traditional ‘Page Three’ of English daily tabloid newspapers during the 1980s. She was named ‘Page 3 Girl Of The Year’ in 1989. Around the same time she was singing for a band called ‘The Rhythm Zone’ and dating the rapper ‘Rebel MC’. She appeared in the following films: ‘Tank Malling’ (1989), ‘Whoops Apocalypse’ (1986). She also appeared in the following TV shows ‘The Benny Hill Show’ (1983) & ‘The Little & Large Show’ (1988). Her image has been used to promote computer games and she appears in a strip poker game. She released a single called 'Stop Right Now' (1990) and appeared at the ballroom on Friday 11th May 1990 to promote it.
Pete Townshend - guitar, vocals Kenny Jones - drums The Who played The Kinema Ballroom four times on: They were probably the most progressive of all the British beat groups that found great chart success during the 1960s. They had begun as a reasonably straightforward R&B line-up, but the group was too dynamic, emotional and innovative to stay in the same groove for long. Consequently, they were responsible for moving their music towards more ambitious targets than most of their contemporaries. The foundation of what was to become the Who was created through an agreement made between Townshend and Entwhistle at the foot of the main staircase of Acton County Grammar School during 1959. (Incidentally, the author of this piece attended the same school at that time! I have often wondered what the music teacher 'Mrs. Holman' made of them, but I digress.... ). They began by playing traditional jazz, but later decided that rock and roll held more appeal and they subsequently joined up with Roger Daltrey and a drummer named John Sandon in Daltrey's group- 'The Detours'. Roger had previously been at Acton County with Entwhistle and Townshend but had left before taking 'O'-Levels- incidentally, at school he was often referred to by the nickname 'Percy'- a schoolboy play on words derived from Percy Dalton's {Daltrey's} Peanuts! (A former Detour member tells me that he also lived in Percy Road, Shepherds Bush which may also have contributed to the name). This line-up worked as a support act in the many west London venues of the day.. By late 1963 John Sandon had been replaced by the more intense Keith Moon, and by 1964 they had become 'The Who'. They became a popular act at the Marquee club in London with a reputation for the boisterousness of their performance. However, they made a brief attempt to break with this image by adopting the name 'The High Numbers' and setting themselves to appeal to the growing 'mods' fashion of the time. It was in this 'clean cut' guise that they released their first single, which made no sales impact at all and is now a rare collector's item. Despite this setback the group reverted to their previous name and billed themselves alongside the appropriate words: "Maximum R&B". After failing to secure a recording deal with EMI, the group eventually found their way on to a record label, obtaining interest from Brunswick in the U.S. A series of imaginative and innovative singles releases followed and the Who's spirited stage antics became increasingly familiar to TV audiences during 1965. In fact the group's reputation for smashing their instruments grew from an accident in which the neck of Townshend's guitar was broken during a particularly physical performance due to its impact with a low ceiling. In later years the group found themselves with a contract which, although probably less beneficial than they would have liked in some ways, covered the replacement cost of their kit. Unsurprisingly, instrument smashing became an established and expected part of their act. As the 'mods' fashion declined so too did the group's fortunes with chart singles. However their longevity was never threatened because Townshend's creativity was there to send the music in a new direction. Before the decade was out the group had produced Townshend's now almost legendary rock opera 'Tommy'. The Who's musical innovation continued throughout the1970s although this was a traumatic period, both for the group and its individual members. After breaking up and then coming together again, it looked as though they might be near the end when Keith Moon died tragically during 1978. However, the Who's tempestuous existence resumed again in 1979 when former 'Small Faces' drummer, the excellent Kenny Jones, joined to fill the place left by Moon's demise. Although since then the band members have each made individual careers- with Townshend's being much the most successful- they have regrouped sufficiently often to be regarded as one of the most enduring of the beat bands of the era. Info courtesy of: www.45-rpm.org.uk It's rumoured locally that one of The Who's performances at the ballroom necessitated bringing in an additional power source via a temporary cable from a duct in the street outside! Not sure I believe this one but maybe you can confirm? Contact me.
Wally Whyton had previously been leader of the 'Vipers' skiffle group who charted with 'Cumberland Gap' and 'Don't You Rock Me Daddy-O' Wally turned solo, but had no further chart successes. He released at least 7 singles from 1959's 'Don't Tell Me Your Troubles / It's All Over You' to 1969's 'Jig Alone/ Out On The Road' including covers of 'Gentle On My Mind' (1968) and 'Wichita Lineman' (1969). If you can add any further information to this piece please contact me here
Mal Gray - vocals Later: Bob O'Connor - drums The Wild Angels rock 'n' roll band was formed in the summer of 1967. The original members were Mal Gray (vocals), Mitch Mitchell (bass), John Hawkins (lead guitar), Bob O'Connor (drums) and John Huggett (keyboards). Mitch had met Mal and Bob some two years earlier when he placed an ad in "Melody Maker" for "Musicians wanted - Rockers only", but although a group called the Rockin' Gold Stars had come out of this, they never did any gigs.
Brian Robertson - guitar, vocals (ex Thin Lizzy) Jimmy Bain - bass, vocals (ex Rainbow) Jimmy McCullouch - guitar (ex Stone the Crows and Wings) Kenny Jones - drums (ex Small Faces later of The Who) Later: Wild Horses played to an almost empty ballroom on Sunday 26th November 1978 though despite this (to their great credit) they played a full set to a highly appreciative, slightly embarrassed audience who could not have numbered much more than approx twenty. I can attest that in return the audience made a noise completely disproportionate to their number. They released two albums 'First Album' (April 1980) & 'Stand Your Ground' (May 1981). The Kinema Line-up was:
Major Wiley was a British black actor and folk singer/songwriter. He released one single: 'Rockin' Chair' / 'One More Heartache' (1969) on Verve Forecast Records and an album 'Seventh Child' (1972) on DeWolfe Records (The 'A' side included vocals while the 'B' side was instrumental.) His film acting credits include 'Out of Town' (1988) 'D.A.R.Y.L.' (1985) 'Top Secret!' (1984) 'Britannia Hospital' (1982) and a part in a mini TV series from 1979 called 'Ike'. If you can add any further information to this piece please contact me here
Despite being born in Africa, Danny Williams grew up and started his singing career in England. He remained a fairly little known singer until recording his superlative rendition of 'Moon River'. The song has since, somewhat confusingly, become more associated with American Andy Williams, but it was Danny Williams that produced the version normally regarded in the UK as 'definitive'. Apart from this superb single, Williams managed the chart with several other MOR ballads, the most memorable of which was 'Wonderful World Of The Young'. None of his successful UK hits made any impression in the USA, however he managed to reach the US #9 with a song called 'White On White' in 1964; a record which, perversely, flopped on his home ground. By the mid-1960s he was beginning to struggle to find suitable material and was never able to get near to repeating his previous successes. However, his biggest hit single was great enough to sustain his long term career which he carried out mostly by touring on the UK night club circuit. Info courtesy of: www.45-rpm.org.uk
Viola Wills is an international recording artiste who started her career off at the Los Angeles Conservatory of Music. She later worked with Barry White, Joe Cocker, Smokey Robinson and many other established recording artistes until she recorded her first album of her own original songs "Soft Centers" in London England. Her first major break into the mainstream came with her version of "Gonna Get Along Without You Now" which started a string of dance hits and Viola's subsequent title of a "disco diva". Determined to have a career writing and singing her own songs, Viola recorded and charted her first original hit "Dare To Dream", followed by her version of "Both Sides Now". All three of the songs would land Viola in the Guiness Book of Records for the UK. Eventually Viola took a break and returned to America to work on a college degree in music therapy. During this period she wrote and produced her one-woman show "Willspower". A demand for 80's music brought Viola back to Europe where she firmly committed herself to promote her own music. With this new commitment in mind Ms Wills has formed a new band and created her own unique style of music "Jazzspel", a mix of jazz and gospel, that has universal appeal. Most of the band members are graduates of Brighton University. When not gigging they teach music in their own respective genres. The musicians' classical and jazz genius mixed in the soulful spontaneity of Viola's gospel roots make a perfect blend for the ears and the soul. Some of the UK venues Viola has appeared on or at are Top of The Pops, Pebble Mill, Soul Train, Jools Holland, Ronnie Scott's, Never Mind The Buzzcocks and recently a residency at Joogleberry's Playhouse in Brighton. She eventually returned to the USA & on May 6th 2009 Viola passed peacefully away after a short illness. Info from: www.violawills.com
Madelaine Taylor (Maddie) - guitar, bodhran, vocals Scottish folk outfit including Maddie Taylor (born in Perth) from Silly Wizard. They were active around 1974. If you can add any further information to this piece please contact me here
Cecil Womack Many Soul music fans believe that, when tracing back the roots of modern Soul, all roads ran through Sam Cooke. Well, that is literally true in the case of the singing/songwriting duo Womack & Womack. Cecil Womack is one of the famous Womack brothers (the most notable being Bobby Womack) and was a member of the Valentinos, the sibling singing group that was mentored by Sam Cooke before his tragic death. Linda Womack is Sam Cooke's daughter (and was for a time Bobby's stepdaughter) and became Cecil's wife and musical partner. Womack & Womack established a stellar reputation as songwriters of melodic, intelligent songs that were recorded by others especially during the period 1975 - 1990. Perhaps most notable of their songs were "Love TKO," originally recorded by Teddy Pendergrass and recently remade by Hall & Oates, Patti LaBelle's "Love Bankrupt" and the wonderful ballad "New Day," immortalized by George Benson. Cecil and Linda also had a relatively short but notable recording career. Their 1983 debut album, Love Wars, was a critical favourite, and spun off the minor hit "Baby I'm Scared of You." It was a great album front-to-back, and included their own version of "TKO" as well as the smooth "Good Times." They followed over the next half decade with the solid but less commercially successful Radio M.U.S.I.C. Man, Conscience and Starbright before moving to RCA in 1991 for Family Spirit. Their 1993 recording Transformed Into The House Of Zekkariyas was their last as Womack and Womack. Cecil and Linda moved to Africa in the 90s. They are now recording with their seven children as The House of Zekkariyas, and released the album Sub Conscience in 2002. In 2004, Australia's Raven Records released Strange and Funny: The Best of Womack & Womack 1984-93. Info from: www.soultracks.com
Tony Clarkson - bass Researched from The Tapestry of Delights - The Comprehensive Guide to British Music of the Beat, R&B, Psychedelic and Progressive Eras 1963-1976, Vernon Joynson (ISBN 1 899855 04 1)
Stuart 'Woody' Wood - guitar Harry McGlossus was their manager Very young Edinburgh covers band which later provided two members of The Bay City Rollers (Wood & Pat McGlynn). They rehearsed in Greenock's '101 club'. If you can correct / add any further information to this piece please contact me here
Were previously known as 'The Citroens' from Alloa prior to 1970. A covers band active between 1970 & 1980 whose repertoire included artistes from the 50's, 60's, 70's and contemporary bands of the time. If you can correct / add any further information to this piece please contact me here
Born Eric Goulden in Newhaven, Sussex, England Wreckless Eric specialised in chaotic, pub rock and roots-influenced rock. His often tuneless vocals belied some excellent musical backing, most notably by producer Nick Lowe. Wreckless' eccentric single, "Whole Wide World"/"Semaphore Signals" has often been acclaimed as one of the minor classics of the punk era. During 1977-78, he was promoted via the famous Stiff live revues where he gained notoriety off-stage for his drinking. For his second album, 'The Wonderful World Of Wreckless Eric', the artist provided a more engaging work, but increasingly suffered from comparison with the other stars on his fashionable record label. Wreckless' commercial standing saw little improvement and he effectively retired from recording for the first half of the '80s, Wreckless returned with 'A Roomful Of Monkeys' credited to Eric Goulden, and featuring members of Ian Dury's Blockheads. He then formed the Len Bright Combo with ex-Milkshakes members Russ Wilkins (bass) and Bruce Brand (drums), who released two albums and gained a small cult-following on the pub/club circuit. The eventual dissolution of that group led to the formation of Le Beat Group Electrique with Catfish Truton (drums) and André Barreau (bass). Click here for a pix of a ticket stub.
Linnie Patterson - vocals Robert 'Smiggy' Smith - guitar Visually commanding and loud, Edinburgh-based 'The Jury' were a tight four-piece Altantic / Mowtown covers band from Penicuik in Edinburgh formed in 1966 who famously supported Cream at McGoos (High Street) on Sunday August 6th 1967 before becoming 'The Writing On the Wall' in 1968 after they saw 'Family' in concert and their whole outlook changed. They went to London, released a disappointing album, 'Power Of The Picts', then splintered, with Patterson leaving for Beggar's Opera and Smith for Blue. They were replaced by Finlayson & Greenhalgh. Apparently they staged fights on stage to attract attention. In recorded a second album in 1972 that remains unreleased then, went though several line-up changes. They went into the studio in Wales in 1973 to record a third album but lost heart and split when their gear was stolen in the December. Smiggy & Patterson had both been with 'The Boston Dexters' and 'Three's A Crowd' (with Jimmy Bain, later of 'Ritchie Blackmore's Rainbow' & 'Wild Horses'). Sadly Linnie Patterson died of asbestosis in 1990.
Chris McCall - lead vocals The Wynd were born on the move - Rod first met Chrissie on a train whilst returning home from a Stands gig in Glasgow. Following a lively chat, they made vague promises about forming a band when Rod moved to Edinburgh later that year. Sure enough, a few months later Rod duly arrived in Edinburgh with a Telecaster in one hand and a bunch of songs in the other. Handily, Rod had previously met Martin, a strapping West Coast lad with a biting wit and a penchant for bass guitar. Like all great bands, The Wynd then spent most of their formative months being f****d about by a succession of drummers, before meeting Paddy Cameron in a boozer in September of 2006. Paddy drank cider by the gallon and claimed he could play like Roger Taylor. Thankfully, this didn't put off the rest of the band, and rehearsals began in earnest. Having set up home at the Lighthouse Studios in Granton, The Wynd began gigging in March 2007 and recorded their debut EP in May. Copies of the EP can be bought from direct from the band for a nominal sum. Following a burst of creativity which has been attributed to a mixture of poor diet and German lager, the band have been rehearsing a number of new songs. These latest compositions have been modestly described as “f*****g brilliant” by lead vocalist and resident band critic Chris McCall. The band shall be entering the studio again soon, in order to get physical evidence that these songs are as good as they say. Info from: www.myspace.com/thewyndmusic
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