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My Rolling Stones Hyde Park Review in the new edition of Record Collector magazine

September 2022 edition – part of a double page spread shared with Kris Needs

Trash in NME!

A question from Mike Warth, currently writing a history of rock in Reading 1977-1987, got me raiding the Trash archives for the only national press coverage we ever received. Wily Nick Duckett persuaded us to play a party in the garage of his house in Caversham Heights and then sent a review of our performance to the NME claiming that The Garage was a new venue. They fell for it and published the piece, reproduced below together with a picture of me and Mick from the gig itself.

February 1978 – so just the 44 years ago…

New Live LPs from Fairport Convention and The Beach Boys

Available now from

The Broadcast Album 1968-1970 by Fairport Convention


Side One

1. Time Will Show The Wiser (Emmitt Rhodes)
2. I Still Miss Someone (Johnny Cash/Roy Cash Jnr.)
3. Bird On A Wire (Leonard Cohen)
4.If It Feels Good, You Know it Can’t Be Wrong (Richard Thompson/Ashley Hutchings

5. I’ll Keep It With Mine (Bob Dylan)

Side Two

1. Sickness And Diseases (Dave Swarbrick/Richard Thompson)
2. Sloth (Dave Swarbrick/Richard Thompson)
3. Billy The Orphan Boy’s Lonely Xmas (Richard Thompson)

4. She Moves Through The Fair (Trad. Arr. Fairport Convention)

Recording Details

Side One

Track 1 French TV Bouton Rouge, April 27th  1968

Tracks 2-5 VPRO Dutch TV Amsterdam, September 1968

Side Two

Track 1 BBC, Sound of The Seventies, recorded November 12th 1970, broadcast November 19th

Track 2 Radio WHPK Chicago, broadcast May 27th 1970

Tracks 3-4 BBC Top Gear, recorded December 9th 1968, broadcast December 22nd


Ashley Hutchings – bass guitar, vocals

Richard Thompson –  guitar, vocals

Simon Nicol  – guitar, vocals

Martin Lamble – drums (Side One Tracks 1-5, Side Two Tracks 3-4)

Judy Dyble – vocals (Side One Track 1)

Sandy Denny – vocals, guitar, piano (Side One Tracks 2-5, Side Two Tracks 3-4)

Ian Matthews – vocals (Side One Tracks 1-5, Side Two Tracks 3-4)

Dave Swarbrick – fiddle, vocals (Side Two Tracks 1-2)

Dave Mattacks – drums (Side Two Tracks 1-2)

Dave Pegg – bass, vocals (Side Two Tracks 1-2)

Marc Ellington – vocals (Side Two Track 3)


In this release we navigate the uncharted waters of Fairport Convention’s early voyages across the UK, European and American airwaves. Fairport initially focused on covers of future classics by US/Canadian singer-songwriters such as Joni Mitchell, Leonard Cohen, Richard Farina and Bob Dylan, but delivered these covers in increasingly extended electric versions, becoming England’s answer to Jefferson Airplane. Within two years the band evolved into the prime-movers of British electric folk-rock, mixing electrified traditional songs with outstanding original material provided mainly by Sandy Denny and Richard Thompson. Between June 1968 and July 1970 Fairport released five LPs: Fairport Convention, What We Did on Our Holidays, Unhalfbricking, Liege and Lief and Full House(July 1970) – six if we include Heyday: the BBC Sessions 1968-1969, a selection from the many BBC sessions recorded by the What We Did on Our Holidays line-up.

Fairport Convention had been formed in 1966 by Ashley “Tyger” Hutchings (bass) with Richard Thompson (guitar), a very young Simon Nicol (guitar), and Martin Lamble on drums. This first classic Fairport Mark 1 line-up was completed by the addition of Judy Dyble and Ian Matthews on vocals. This line-up released Fairport Convention and is heard here on a rare live performance of Emitt Rhodes’ Time Will Show the Wiser from French TV in April 1968. In May 1968 , the band sacked Judy Dyble and replaced her with Sandy Denny, already a major force on the UK traditional folk scene and an established singer-songwriter in her own right. The Fairport Mark 2 line-up released the two classic LPs What We Did on Our Holidays and Unhalfbricking. Heard here on Dutch TV from 1968, three of these songs were never released on a studio LP – the Johnny Cash and Roy Cash Jnr. song I Still Miss Someone; Leonard Cohen’s Bird On A Wire; and If It Feels Good, You Know it Can’t Be Wrong, a rare song-writing collaboration from Fairports’ lighter side by Richard Thompson with Ashley Hutchings. The band’s understated arrangement of Dylan’s I’ll Keep It With Mine  was originally released on What We Did on Our Holidaysas was their haunting arrangement of the traditional folksong She Moves Through The Fair, heard here from a December 1968 BBC radio session. From the same radio session comes the only known performance of mysterious Fairport Christmas joke song Billy The Orphan Boy’s Lonely Xmas featuring a guest appearance from Marc Ellington as “Judge Jackson”.

Fairport had from the very beginning devoted themselves to relentless gigging, playing around 275 concerts between 1967-1970. On 12th  May 1969 the band were travelling back down the M1 after a gig in Birmingham when their van came off the motorway. Martin Lamble was killed outright, as was Richard Thompson’s girl-friend Jeannie Franklyn. Sandy Denny was not involved in the accident – she had travelled back from the gig with her boyfriend Trevor Lucas. The surviving band members suffered major and long-term psychological traumas. To honour the memory of Martin they decided to carry on, but could not face playing their old material. Ian Matthews left to form Matthews Southern Comfort. Fairport brought in Dave Swarbrick on fiddle, and Dave Mattacks on drums – a very different drummer to Martin – and at the end of 1969 the Fairport Mark 3 line-up released Liege and Lief, now widely acknowledged as the first classic LP of electric British folk-rock.

In December 1969 the band sacked Sandy Denny following her no-show for a short tour of Denmark. Ashley Hutchings then left to form Steeleye Span and was replaced by Dave Pegg. Fairport Mark 4 comprised Richard, Simon, Dave Swarbrick, Dave Mattacks, and Dave Pegg, releasing Full Housein July 1970. This LP contained Sloth, a military allegory of a failing relationship. The version here was recorded at a May 1970 concert in the US and features extended interplay between Richard and Swarb. The Mark 4 line-up also contributes another Swarbrick/Thompson classic Sickness and Diseases, a touching tale of STDs. This was originally released on Angel Delight in June 1971 by the Fairport Mark 5 line-up, sans Richard Thompson who had left in January 1971.

Most of the members of the Fairport family have remained closely and confusingly intertwined over the five and a half decades of the band’s existence. As Simon Nicol helpfully explained “Richard left Fairport Convention in early 1971 and has been playing with us ever since.” Richard continued to tour with Sandy, and played on all her four solo LPs.  Richard’s bands have often included Simon Nicol, Dave Mattacks and Dave Pegg. Since 1976 Fairport have run their annual reunion Cropredy Conventions. They continue to tour regularly and release a new LP every two or three years containing consistently strong and distinctive material. We are very lucky to still have them.

Sleevenotes: Admiral Sir Patrick Spens (retired)

Live In Paris by The Beach Boys

Side One

1. Darlin’ (B Wilson, Love)

2. Wouldn’t It Be Nice? (B Wilson, Love, Asher)

3. California Girls (B Wilson, Love)

4.I Can Hear Music (Barry, Greenwich, Spector,)

5. Medley

Warmth Of The Sun (B Wilson, Love)

/ Don’t Worry Baby (B Wilson, Christian)

/ Please Let Me Wonder (B Wilson, Love)

/ Surfer Girl (B Wilson)

/ In My Room (B Wilson, Usher)

6. I Get Around (B Wilson, Love)

7. Sloop John B (Traditional)

8. Do It Again (B Wilson, Love)

Side Two

1. Break Away (B Wilson, M Wilson)

2. The Nearest Faraway Place (Johnston)

3. Cotton Fields (Ledbetter)

4. Barbara Ann (Fassert)

5. God Only Knows (B Wilson, Asher)

6. Their Hearts Were Full Of Spring (Troup)

7. Good Vibrations (B Wilson, Love)

8. Johnny B. Goode (Berry)

Recording Details

All tracks recorded live on June 16th 1969 at L’Olympia, Paris and broadcast on Musicorama French TV


Mike Love: vocals, tambourine, electro-theremin

Carl Wilson: vocals, lead guitar

Al Jardine: vocals, rhythm guitar

Dennis Wilson: vocals, drums

Bruce Johnston: vocals, bass, organ, piano

Daryl Dragon: piano, organ, bass

Ed Carter: bass, tambourine, lead guitar

Mike Kowalski: percussion


During the 1960s Brian Wilson steered The Beach Boys to international success, his melodic abilities culminating in Pet Sounds (1966). Although widely praised and a best seller in Europe, the LP received only indifferent reviews in the US and got no higher than number 10 on the Billboard charts. Thus began a period where the band was more popular in Europe than in their native America. Their standing was not helped by the flow of inconsistent albums that followed Pet Sounds: Smiley Smile (1967), Wild Honey (1967), Friends (1968) and 20/20 (1969).

By the time the Beach Boys recorded a live show for French TV in June 1969 Brian was no longer touring with the band. In his place were Bruce Johnson and three additional key extra players, plus horns and strings as required. The end result was a surprisingly versatile and adept live band, topped with the Beach Boy’s characteristic four-part vocal harmonies. Visually they still looked out-of-step with contemporary fashion: everyone except Mike Love was wearing suits, some with cravats. Hair was strictly mid-length. Mike Love sported floor-length robes reflecting his enthusiasm for more spiritual matters such as Transcendental Meditation. After some songs the band took a synchronised bow. The Edgar Broughton Band this is not.

Darlin’ makes a strong set opener with organ high in the mix together with the guitars of Al Jardine and Carl Wilson. An impressive recreation of Wouldn’t It Be Nice is short and sweet. California Girls features two solo tambourine players and finishes unexpectedly. This tour was to promote the LP 20/20, itself a compilation of outtakes and leftover tracks from other LPs. One of the singles from this LP was a cover of the Ronettes I Can Hear Music, played here with the complex vocal middle eight intact. A five-song medley (“slow songs”) is proof of Brian Wilson’s early song writing skills and the bands ability to sing his melodies. Over minimal backing, delicious extracts from Warmth Of The Sun, Don’t Worry Baby, Please Let Me Wonder, Surfer Girl and In My Room are delivered.  A lively I Get Around is only slightly marred by Mike Love’s impression of a car and features more of that groovy organ. Sloop John B is boosted by a five piece brass section. Do It Again rocks with Dennis really walloping the drums on the intro.

Break Away is introduced as a forthcoming single, Carl sings it beautifully with a coda that vanishes into its own echo. A surprise comes with Bruce Johnston’s solo piano performance of instrumental The Nearest Faraway Place, another track from 20/20. Al Jardine leads on a version of Leadbelly’s Cotton Fields whilst Mike Love attempts to turn Barbara Ann into “Pom Pom Pompidou” but common sense prevails. God Only Knows features another great Carl vocal, with the wonderful backing vocals precisely delivered and an orchestral arrangement that closely follows the studio version. The seated and rather sedate audience respond enthusiastically. An acapella version of Bobby Troup’s Their Hearts Were Full Of Spring shows off the band’s immaculate harmonies. Warm applause greats the distinctive organ intro to set-closer Good Vibrations and the audience clap along. A rocking encore of Johnny B.Goode is an effective return to the band’s roots with the addition of support band Paul Revere & The Raiders.

The rehabilitation of the Beach Boys as a live act would continue after this tour.  By 1971 they were playing the Fillmore East, sometimes in the company of the Grateful Dead. Then came the release of Surf’s Up, with its fashionable eco theme and Brian Wilson’s evocative title track. The 1972 concerts they gave at Carnegie Hall in New York are regarded by many fans as their live peak. Whilst subsequent studio recordings have only been intermittently rewarding, the critical reputation of the run of LPs from Pet Sounds to Surf’s Up has continued to grow. This record documents the start of the Beach Boys artistic renaissance.



New Rolling Stones Live EP and LP

Now available from

Ed Sullivan 1969 – The Rolling Stones


  1. Gimme Shelter (Jagger, Richard)
  2. Love In Vain (Johnson)
  3. Honky Tonk Women (Jagger, Richard)


Mick Jagger – vocals

Keith Richard – guitar

Mick Taylor – guitar

Bill Wyman – bass

Charlie Watts – drums

Recording details

All tracks recorded live on November 18th at Studio 50, New York City,  and broadcast on November 23rd on The Ed Sullivan Show (CBS US TV)


In November 1969 the Stones appeared on Ed Sullivan’s influential show for the sixth and final time, sharing a bill with Ella Fitzgerald. Jagger was resplendent in a silver and black choker and a fringed cloak whilst Richards hair was in the ascendent, complementing his see-through Dan Armstrong guitar. Wyman and Watts looked impassive throughout, Taylor sported an acoustic for Love In Vainbut reverted to a Telecaster for recent single Honky Tonk Women and for Gimme Shelter. Sullivan announced Gimme Shelter as being from the band’s new album Let It Bleed, to be released in the US the week after the broadcast. Some pictures of the band on the Ed Sullivan set show Wyman replaced by pianist / road manager  Ian Stewart. These photos were taken during rehearsals on November 17th when Wyman was unwell and Stewart took his place.

Sleeve notes:  Dee Leah-Smith

Let The Airwaves Flow 10: Live In Honolulu and Sydney 1966

The Rolling Stones

Side One

  1. Not Fade Away (Hardin, Petty)
  2. The Last Time (Jagger, Richard)
  3. Paint It, Black (Jagger, Richard)
  4. Lady Jane (Jagger, Richard)
  5. Mother’s Little Helper (Jagger, Richard)
  6. Get Off Of My Cloud (Jagger, Richard)
  7. 19th Nervous Breakdown (Jagger, Richard)
  8. (I Can’t Get No) Satisfaction (Jagger, Richard)

Side Two

  1. Mercy, Mercy (Covay, Miller)
  2. She Said Yeah (Jackson, Christy)
  3. Play With Fire (Jagger, Richard)
  4. Not Fade Away (Hardin, Petty)
  5. The Spider and the Fly (Jagger, Richard)
  6. That’s How Strong My Love Is (Jamison)
  7. Get Off Of My Cloud (Jagger, Richard)
  8. 19th Nervous Breakdown (Jagger, Richard)
  9. (I Can’t Get No) Satisfaction (Jagger, Richard)

Recording Details

Side One

All tracks recorded live at the Honolulu International Centre, Hawaii on July 28th 1966 and broadcast on Radio K-POI

Side Two

All tracks recorded live at the Commemorative Auditorium Showgrounds, Sydney, Australia (first show) on February 18th 1966 and broadcast by Australian 2UW Radio


Mick Jagger – Vocals, maracas

Keith Richard – Guitar, vocals

Brian Jones – Guitar, harmonica

Bill Wyman – Bass

Charlie Watts – Drums


1966 was the live peak of the  Brian Jones-era Stones as they toured extensively and played more exotic venues, illustrated by this brace of radio broadcasts from Australia and Hawaii. Setlists featured more of the band’s own material, and cover versions tended to be soul or R&B numbers rather than the blues covers of their early years.

The Sydney show was performed on a rotating stage that was handcranked by stage hands – at one point an exasperated Jagger says “Will you stop this thing going round?”. Mercy Mercy and a brief She Said Yeah get the set off to a scream-drenched start before Play With Fire provides a rare moment of calm. Not Fade Away restores the pace with Jagger’s vocal a call-and-response to Jones’ harmonica. The Spider And The Fly is the second brilliant B-side to be played before Jagger totally convinces on That’s How Strong My Love Is. Despite starting well Get Off Of My Cloud falls to bits towards the end. A strong version of 19th Nervous Breakdown with some potent dual vocalsrestores the set’s momentum before set-closer Satisfaction increases the scream-level still further. Jagger gets lost in the song early on (“Where are we?”) but recovers well. Eye-witness accounts suggest that The Last Time was played as the opening song that night, but this is unconfirmed.

The Hawaii gig was the last date on the Stones fifth North American tour. Also on the bill were Herman’s Hermits and Johnny Green and the Greenmen. Ticket prices ranged between $2.50 and $6.50. It would prove to be Brian Jones final appearance in the USA. A flavour of the gig is given by a florid live review from the Toronto Star earlier in the tour. “The young nubiles surged forward, arms undulating like tentacles of sea anemones writhing in warm fluid. Mick is a phenomenon of utter sexuality, beyond simple distinctions of maleness or femaleness”.

Not Fade Away makes for a great, up-tempo set opener. By now original songs such as The Last Time are greeted with screams of recognition from the audience. An uptempo Paint It, Black trades subtlety for intensity. Charlie Watts then makes a rare song introduction. Unfortunately he introduces The Last Time, which they had already played, instead of Lady Jane.  Lady Jane is the only non-raver in the set and the crowd are noisy throughout but the intricate acoustic arrangement shines through. Mother’s Little Helper was released as a single in the US and makes for a great live song, with both guitars playing the riff in unison and more effective Jagger/Richard joint singing. Get Off Of My Cloud is more successful than in Sydney with powerful shouted backing vocals. 19th Nervous Breakdown is taken at breakneck speed and Satisfaction sounds like the soundtrack to a riot, from Richard’s heavily fuzzed intro to the relentless Charlie-driven outro.

Introducing the gig, the exceptionally annoying Radio K-POI announcer refers to the Rolling Stones as ‘exciting’ and a ‘swinging group’. Exciting definitely but swinging? Pounding more like. Unleashing a barrage of uptempo short, sharp songs of the type you hear on this disc would not be fashionable again for another ten years, and then it would be called punk. As is so often the case, the Stones got there first.

Sleevenotes: Fiji Jim

The Rolling Stones – London Hyde Park One Saturday 25th June and Sunday 3rd July

Review written for Record Collector magazine

View: Diamond VIP both nights (Keith’s side)

Merchandise: Stones At Hyde Park T Shirt (£35) and Lithograph (£60)

The Stones were visibly delighted to be back in London as part of their Sixty (years) tour. Out Of Time has been disinterred for these dates and inspired the first audience singalong, masterfully orchestrated by showman supreme Mick Jagger, in his element in front of 65,000 enthusiastic fans. An early highlight of the June 25th gig was a delicate She’s A Rainbow, whilst the rarely performed Can’t You Hear Me Knocking was a wonderful surprise and the spare rhythms of lock-down single Ghost Town worked well. New drummer Steve Jordan did not attempt the jazzy fills that his much-missed predecessor Charlie Watts brought to the track but his more straightforward style is now well-assimilated within the band and his slightly faster tempos gave several venerable tracks a crisper feel. Keith Richards was on great form, sharing the guitar parts more equally with Ronnie Wood. Richards solo spot combined an elegant and understated Slipping Away with a rousing lurch through Connection. A lengthy Midnight Rambler featured a snatch of Come On In My Kitchen whilst Jagger added a snappy coda to You Can’t Always Get What You Want.

The following week saw six different songs played, a welcome gesture to fans who attended both gigs. Get Off Of My Cloud was an urgent set-opener: following with 19th Nervous Breakdown delivered a great ‘60s double punch.  A reflective Angie was beautifully sung, You Got Me Rocking and Dylan’s Like A Rolling Stone were rapturously received. Keith changed his solo spot so we got an acoustic duet with Ronnie on You Got The Silver and a raucous Happy. Sympathy For The Devil made for an effective encore: the Satisfaction that followed went on for too long as Jagger worked the crowd one last time. I could do without Darryl Jones’ bass solo on Miss You but any criticisms are minor: overall these were two great performances from a band that just won’t quit, and for as long as they keep performing at this stellar level nor should they.

Photo credit: Stones official

Setlist – 25th June

Charlie Watts Tribute
01. Street Fighting Man
02. 19th Nervous Breakdown
03. Tumbling Dice
04. Out Of Time
05. She’s A Rainbow
06. You Can’t Always Get What You Want
07. Living In A Ghost Town
08. Can’t You Hear Me Knocking
09. Honky Tonk Women
10. Slipping Away
11. Connection
12. Miss You
13. Midnight Rambler
14. Paint It Black
15. Start Me Up
16. Gimme Shelter
17. Jumpin’ Jack Flash
18. Sympathy For The Devil
19. (I Can’t Get No) Satisfaction

Setlist – 3rd July

Charlie Watts Tribute
01. Get Off Of My Cloud
02. 19th Nervous Breakdown
03. Tumbling Dice
04. Out Of Time
05. Angie
06. You Can’t Always Get What You Want
07. Like A Rolling Stone
08. You Got Me Rocking
09. Honky Tonk Women
10. You Got The Silver
11. Happy
12. Miss You
13. Midnight Rambler
14. Paint It Black
15. Start Me Up
16. Gimme Shelter
17. Jumpin’ Jack Flash
18. Sympathy For The Devil
19. (I Can’t Get No) Satisfaction

The IORR Band @ The Hope & Anchor

Islington 25.06.22

(review written for Record Collector magazine)

Four years since they last played here the IORR Band stormed a packed Hope & Anchor with a brilliant selection of well-known and less well known Stones covers. The band formed via the famous Stones fan website and come from as far afield as Norway and Chile. They only meet the night before a Stones gig. They never rehearse but are such great musicians that gigs like this seem to happen instinctively. A twenty song set took in some rarely played material like The Spider And The Fly, Sway and Parachute Woman.  Bluzdude enlivened Little Queenie and the closing Stop Breakin’ Down was a triumph. So take a bow DandelionPowerMan Mathjis, Mr_dja, IrwinH and 71tele plus guests djgab (mandolin) and WildSlivovic (harmonica). And a shout-out to a great audience: ManOfWealthOfTasteSilverDaggerSomeTorontoGirl, Beast and many others.

Photo credits: Mike Baess and Chris Davies


  1. Under My Thumb
  2. Dancing With Mr D
  3. Dead Flowers
  4. Love In Vain
  5. Parachute Woman
  6. The Spider & The Fly
  7. Time Is On My Side
  8. Let’s Spend The Night Together
  9. Hang Fire
  10. Down In The Hole
  11. Going To A Go Go
  12. Little Queenie
  13. Miss You
  14. Midnight Rambler
  15. Sway
  16. Can’t You Hear Me Knocking ?
  17. Honky Tonk Women
  18. Brown Sugar
  19. Jumpin’ Jack Flash
  20. Stop Breakin’ Down

New LP Releases – Rolling Stones 1965, Fleetwood Mac 1970

Available now from

Let The Airwaves Flow 9: On Tour’65 Volume II

The Rolling Stones

Side One

  1. The Last Time (Jagger, Richard)
  2. Little Red Rooster (Dixon)
  3. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  4. Oh Baby (We Got A Good Thing Going) (Lynn)
  5. (I Can’t Get No) Satisfaction (Jagger, Richard)
  6. Down The Road Apiece (Raye)
  7. Time Is On My Side (Meade)
  8. What A Shame (Jagger, Richard)

Side Two

  1. Everybody Needs Somebody To Love (Russell, Burke, Wexler)
  2. Pain In My Heart (Neville)
  3. Around And Around (Berry)
  4. The Last Time (Jagger, Richard)
  5. Time Is On My Side (Meade)
  6. It’s All Over Now (Womack, Womack)
  7. (I Can’t Get No) Satisfaction (Jagger, Richard)
  8. Everybody Needs Somebody To Love (Russell, Burke, Wexler)

Recording Details

Side One

Tracks 1-3 Recorded and broadcast on the ‘Ed Sullivan Show’, New York 2.5.65

Tracks 4 & 5 Recorded for ‘Yeh Yeh’ with Tony Hall, BBC Light Programme, London on 20.8.65 and broadcast on 30.8.65

Tracks 6 – 8 recorded and broadcast on ‘Ready Steady Go’, Studio One, Wembley (ARTV) on 15.01.65

Side Two

Tracks 1 –  4 recorded live at Wembley Empire Pool, London on 11th April 1965 and broadcast on April 18th as “The Big Beat ’65” (ABC and ITV)

Tracks 5 & 6 Recorded live at the Olympia, Paris for RTL Radio, First Show April 18th 1965

Track 7  Recorded for ‘Shindig’, Los Angeles on 20.5.65 and broadcast on 26.5.65

Track 8 recorded and broadcast on ‘Ready Steady Go’, Studio One, Wembley (ARTV) on 26.02.65


Mick Jagger – lead vocals, harmonica

Brian Jones – guitar

Keith Richard – guitar, backing vocals

Bill Wyman – bass

Charlie Watts – drums


1965 was the year that the Stones exported their domestic success to the rest of the world: the tracks here comprise radio and TV broadcasts from the UK, France and the USA.

London’s Ready Steady Go! was the Stones televisual home from home. Under the slogan “The Weekend Starts Here!” and fronted by uber-mod Cathy McGowan this is where the Stones learnt to play to the cameras. Mick Jagger: “RSG! wasn’t safe, it took risks and waded right into the wonderful chaos of the times. It was the best rock’n’roll show of all time”. January 1965 saw the Stones playing their own What A Shame as well as covers of Time Is On My Side and Don Raye’s Down The Road Apiece. By now female screams were continuous, overwhelming the quieter passages. During the February 1965 performance of Everybody Needs Somebody To Love Mick was dragged offstage by female members of the Stones fan club.

The success of RSG! spawned similar shows in America such as Shindig and Hullabaloo.  The Stones recorded (I Can’t Get No) Satisfaction for Shindig in May 1965. Brian Jones sports an atypical acoustic guitar whilst Richard opts for a tougher looking Firebird. Equally influential was The Ed Sullivan Show. On their May 1965 appearance The Last Time seems to take Charlie by surprise as he is still setting up when the song starts. Brian sports his trademark white Vox Teardrop but it is Keith that solos. Brian’s slide provides the focus of Little Red Rooster, duetting with Jagger’s harmonica at the end of the song. Jagger vamps his way into Everybody Needs Somebody To Love, the audience screaming louder in response to his pointing at them during the “you, you, you” sequence. Remarkably the band still bow at the end of each number.

A short-lived BBC radio programme was “Yeh Yeh” was hosted by Tony Hall and featured the Stones in August 1965. Versions of Oh Baby (We Got A Good Thing Going) and(I Can’t Get No) Satisfactionare different to those on the official BBC On Air release. In April 1965 the Paris Olympia was the venue for an exhilarating gig, thankfully recorded in good quality by French radio and represented here by Time Is On My Side and It’s All Over Now. Despite a very lively crowd Jagger delivers Time Is On My Side with complete conviction, aided by strong backing vocals. The guitar solo in It’s All Over Now is lyrical and concise.

Amidst this international success the UK was not overlooked. Bill Wyman remembers “On 11th April we played our first UK show in three weeks at the Empire Pool, Wembley. It was ‘The NME Poll Winners concert’ in front of a capacity audience of 10,000. Other acts included the Moody Blues, Georgie Fame, the Seekers, Donovan, Them, the Animals and the Beatles. We closed the first half and the Beatles closed the show.” Everybody Needs Somebody To Love is performed at a slower pace than usual and forms a medley with Pain In My Heart . Around And Around features a pair of densely interwoven guitars whilst the start of The Last Timeis greetedwith female screams and benefits from distinctive Keith Richards backing vocals. At the concert the Stones picked up awards for Best New Group, Best British R’n’B Group and Mick Jagger won Best New Disc Or TV Singer.

From February 1964 through to November 1965, the Stones were frequent performers on mainstream radio and television. It was like having them in your living room: they would never offer this easy access again.  From 1966 onwards the increasing fragility of Brian Jones would result in the Stones gradually cutting back on their live performances, both in person and on TV. Once 1967’s “Summer Of Love” was safely out of the way the Stones would resurface in the darkly menacing video for Jumping Jack Flash, all tribal make up and bug-eye shades.

The weekend would no longer start here, because the weekend would never stop.

Sleevenotes – Nell Cote

Live in Seattle 17.01.1970

Fleetwood Mac


Side One

  1. Let Me Love You (Ling & King)
  2. Like It This Way (Kirwan)
  3. Only You (Kirwan)
  4. Madison Blues (James)
  5. Baby Please Set A Date (James)

Side Two

  1. Homework (Rush, Perkins & Clark)
  2. Stranger Blues (Lewis, Levy & James)
  3. The Sun Is Shining (James)
  4. World In  Harmony (Kirwan & Green)
  5. Great Balls Of Fire (Hammer & Blackwell)

Side Three

  1. Rattlesnake Shake (Green)

Side Four

  1. Jenny, Jenny (Johnson & Penniman)
  2. Teenage Darling (Spencer)
  3. Ready Teddy (Marascalco & Blackwell)


Peter Green: vocals, guitar

Danny Kirwan: vocals, guitar

Jeremy Spencer: vocals, slide guitar, congas, percussion

Mick Fleetwood: drums, percussion

John McVie: bass

Recording details

All tracks recorded live at the Eagles Auditorium, Seattle on January 17th 1970 and broadcast on KOL-FM “Great Nights At The Eagles


In August 1967 Fleetwood Mac were a diffident group of Chicago-blues purists, playing their first gig at the seventh annual Windsor Jazz and Blues Festival. Much had changed by January 1970, when they toured the US in support of Then Play On, the 1969 LP that was their creative highspot. Mick Fleetwood’s memories of a night supporting the Grateful Dead gives a flavour of the tour.  “That Dead song with the line ‘busted down on Bourbon’, that was the night that Fleetwood Mac played with them at The Warehouse in New Orleans. Owsley had spiked the water fountains and after our set, John McVie was out of it, so he stood in the audience while the rest of us jammed with the Dead. The audience loved it – a massive freak-out. We were following their car back to the hotel, absolutely out of it on acid. I drove the car from the back seat with my feet while somebody else worked the pedals from the side – nobody was in the driver’s seat. We got lost, and by the time we arrived, they’d been busted . . .”

Thankfully Fleetwood Mac reached Seattle intact and unbusted, playing on both  January 16th and 17th. The latter gig was recorded on a reel-to-reel recorder using two microphones hung over the stage, the excellent quality results were broadcast on Radio KOL-FM. Because of this we can now enjoy the band at the height of their virtuosity as they balance their love of the blues with extended versions of their own songs, leavened by a smattering of 50’s rock’n’roll classics.

The set begins with a leisurely stroll through the slow blues Let Me Love You, originally recorded by BB King. Green revered King: King reciprocated, saying of Green: “He has the sweetest tone I have ever heard. He was the only one who gave me the cold sweats.” The focus switches to Danny Kirwan with a lively rendition of his Like It This Way. Although it never appeared on a Fleetwood­­ Mac studio LP it was included on the Blues Jam at Chess LP and was a frequent live number showcasing intertwined Kirwan and Green guitar parts. Only You is a more obscure Kirwan composition: it would not receive an official release until his solo album Hello There Big Boy (1979). Both these songs would have enriched Then Play On. Jeremy Spencer loved Elmore James, and two covers of his songs feature next, a raunchy Madison Blues is followed by Spencer’s plaintive plea of Baby Please Set A Date. Otis Rush’s Homework features a tough Peter Green vocal and an infectious workout from the whole band with McVie’s bass prominent. Although not featured on any studio LP Stranger Blues was frequently played live, as was The Sun Is Shining. This track was originally released as the B side of the Black Magic Woman single (1968): its slower tempo provides the opportunity for Spencer to excel on slide. The delicate passages of instrumental World In Harmony highlight the harmony guitars of Kirwan and Green whilst Jerry Lee Lewis’ Great Balls Of Fire gives Spencer a chance to indulge his Elvis fetish.

Thus far the set has been relatively disciplined, but Rattlesnake Shake gives the band a chance to stretch out. Often this involved a detour into the instrumental Underway but not tonight, as the band stick closely to the basic riff throughout with Mick Fleetwood keeping up a punishing pace through multiple guitar solos whih show this incarnation of the band at their improvisatory peak. The song builds to an impressive crescendo before fading at the 22 minute mark: in an alternative universe they are probably playing it still.

The set ends with a trio of rockers. Little Richard’s Jenny, Jenny is played long and heavy. Teenage Darling sounds like a 50’s original but it was written by Jeremy Spencer and was the B side of his 1970 solo single Linda. With a spoken introduction and some doo wop backing vocals the song simultaneously parodies and celebrates the genre. Finally another Little Richard song Ready Teddy has Spencer in full Presley rockout mode again. The audience clap along whilst the band take the song down and then roar back up again, making for a breathless set closer.

Peter Green would leave Fleetwood Mac in April 1970. The band spent years in the commercial wilderness before their unlikely re-invention in 1975, when  Buckingham Nicks’ catchy melodicism was grafted onto the sturdy Fleetwood Mac rhythm section.  The trademark eclecticism of Fleetwood Mac v1 would not survive the transition, so we are fortunate that their onstage exuberance was captured by recordings such as the one you are holding now.

Sleevenotes – Mrs. Brown

Sabre Dance – Five Song Demo

photo: Felix Pilgrim

Whilst organising the music for the Elsenham Street Jubilee Party I discovered we had a fine band living at the end of our road. Siblings Phoebe (vocals)  and Conor McFarlane (guitar) write the songs for Sabre Dance, backed by Alex Maynard (bass), Andy Campbell Smith (drums) and Sarah Assaf (synth). Their May 2022 demos show great promise.

Phoebe’s pure and plaintive vocals are supported by sympathetic instrumentation  and evocative backing vocals. And the songs are very hummable: the lyrics are not always easy to decipher but  the melodies are strong enough to carry the songs. Arrangements are concise and serve the songs. Some of the songs are a bit polite for my tastes but Wired does the quiet/loud thing well with an instrumental section that sounds like a record jumping. Distant Halves would be a fine set opener. No Pressure sounds like a single to me.

The band is playing live  with recent gigs include the O2 Academy2 Islington and a headline slot at Camden Assembly. Keep an eye on their Instagram for more dates

Playlist – Elsenham St. Jubilee Street Party, Friday June 3rd 2022

Lazy Sunday – Small Face

Friday On My Mind – Easybeats

I Hear You Knocking – Dave Edmunds

Jilted John – Jilted John

Sex & Drugs & Rock & Roll – Ian Dury

Stop Your Sobbing – Pretenders

Walk On The Wild Side – Lou Reed

Fire – Robert Gordon

Hello Goodbye – Beatles

I’m A Believer – Monkees

Gangsters – Specials

Heart Of Glass – Blondie

Miss You – Rolling Stones

Heroes – David Bowie

Go Your Own Way – Fleetwood Mac

Rehab – Amy Winehouse

1999 – Prince

These Boots Are Made For Walkin’ – Nancy Sinatra

London Calling – Clash

God Save The Queen – Sex Pistols

Lola – Kinks

I Can’t Stand Up For Falling Down – Elvis Costello

Town Called Malice – Jam

Girls & Boys – Blur

Live Forever – Oasis

Jumpin’ Jack Flash – Rolling Stones

Dance To The Music – Sly & The Family Stones

Walk Like An Egyptian – Bangles

I Saw Her Standing There – Beatles

Let’s Dance  – Chris Montez

Start Me Up – Rolling Stones

Rebel Rebel – David Bowie

Virginia Plain – Roxy Music

All The Young Dudes – Mott The Hoople

Hey Jude – Beatles

Once In A Lifetime -Talking Heads

Loaded – Primal Scream

Kiss – Prince

Should I Say Or Should I Go – Clash

Albatross – Fleetwood Mac

Layla (Part 2) – Derek and the Dominoes

Opening lyric: “Wouldn’t it be nice to get on with me neighbours?”

Closing lyric: “Should I stay or should I go?” (I went)

New Trash Vinyl Release!

The first Trash single Priorities features on the new double-vinyl compilation I’m A Mess, to be released by uber-cool label Soul Jazz on April 23rd in time for this year’s Record Store Day. Full details here