Sound Lounge, Sutton, August 15^th 2026

 ‘And lo, there was a band who created rock history one Saturday night that shall be remembered by all who were present…until the days of future past….’

Who was the soothsayer heard muttering such bold mystical predictions at a famed live music venue? It might have been the chap in the long white beard, wearing a pointed black hat seen hovering above the bar before disappearing in the direction of the gentlemen’s convenience.

Or it could have been a rock journalist after imbibing his fourth pint of Wizard’s Ale. Whatever the truth of the matter, the night saw one of the most exciting performances witnessed by fans of the long established group in many phases of the Moon.

Still evolving with ever more captivating songs and surprising twists of style it was rather odd to see the SEB described as ‘Country Bangers’ in the Lounge’s events list. But as Steve Eggs (lead vocalist, guitarist and composer) observed from the stage, the band embrace so many different genres even they couldn’t pin themselves down.

Whatever they play, original passionate songs or classic rock’n’pop hits, there is such a buzz going on within the band it communicates directly to audiences, who show their enthusiasm way beyond mere handclapping, as we shall see.

THE GIG

Mercifully the SEB’s Saturday night gig came at the end of a debilitating heat wave. It was possible to inhale not just cool air but the cool vibes the band generated from the start of their opening acoustic set. Kicking off at 8.30 p.m they launched into ‘The Road To California’.

Yes, it had a jaunty country beat, but this was quickly followed by ‘Good Intentions’ enhanced by snappy interjections from Jon Kershaw playing his Fender guitar. Steve kindly informed us “The next song is all about drowning” which turned out to be ‘SS California’ while another merry ditty ‘Rolling On’ was ‘all about getting older’ during which the composer defiantly blew his trusty harmonica. Meanwhile drummer Mark Taylor pounded two-beats to the bar on his bass drum (Or was it four? Only the wizard knows) as they stomped into the jaunty ‘I’ve Just Seen A Face’.

Despite these occasionally sorrowful themes Steve reassured us with cheery cries of ‘Let’s have a great time this evening’ and promised brand new songs when they re-assembled for the second set. After all it was the 13^th time they’d been invited to play at the Sound Lounge. They wanted to ensure everyone was smiling and dancing during this special occasion. Certainly ‘Folsom Prison Blues’ sung by bassist Peter Wass with toe tapping encouragement from Mr. Kershaw provided an exuberant climax to their opening salvo.

BRIDGE TO MY SOUL

The all-electric second set launched with a rockin’ Liza Jane’ was greeted with cheers. Steve generously took the opportunity to ‘Thank our support band for starting this evening…’ before the stomping ‘Looking For A Place In The World’, ‘Almost Talking’ and dramatic ‘Sugar And Blood’ from the band’s Imperfect Stranger album (2025) fully gripped the Loungers’ attention.

Amidst the tidal wave of familiar songs came the galloping ‘One Horse Town’, ‘Roll with the Punches’ and ‘Strangest Feeling’. SEB fans were then treated to a sneak preview of new compositions, soon to be recorded, notably ‘Bridge to My Soul’ during which the lead guitarist complemented Steve’s vocals with cleverly cascading chords.

Jon also paved the way with that famously jubilant intro to the Tom Petty classic ‘American Girl’ that led to his major showcase solo of the night. Things got funkier by the minute as drummer Mark Taylor played like a New York punk rocker meets a Memphis soul man, while locking into Peter’s bass grooves, lifting the band into ever higher levels of funk.

‘Turn It Up’ was the cry while the bouncy ‘A Change Of Heart’ was given 4 stars by my trusty editorial assistant Clare and Steve’s emotional lyrics were underlined by Jon’s gripping interjections on the blue PRS SE Standard 24 guitar that replaced the Fender.

‘Bad Line’ was lots of fun and so was Pete Wass’ exuberant rendition of Mr. Dylan’s ‘Highway ’61 Revisited.’ After a heartfelt ‘We Humans’ came ‘Roll Over’ and ‘Lonely Tonight (The Apartment Song)’.

But the band was far from lonely when they struck into ‘I Saw Her Standing There’ a corking ditty by an upcoming young Liverpool pop group. The crowds in front of the stage began dancing if not on the tables, certainly in the aisles. What say you Mr. Soothsayer? ‘Forsooth!’ CHRIS WELCH

Many thanks to Sári Toplek for the photos

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The Mick Collins Legacy Orchestra

It was a honey of a night when the most swinging band in town returned for another EXCITING session at their regular venue Sundridge Park Club in South London. (August 3^rd 2026). We emphasise ‘exciting’ because the choice of tunes featured an array of dynamic arrangements by Ralph Burns, Thad Jones, Horace Silver and Frank Foster.

They were all designed to set toes tapping, fists pounding and ears waggling which explains why the barmaids may have regarded their regular customers with some bewilderment. Nevertheless, the lager still flowed as the trumpets and trombones blared and saxes wailed through another box of delights that included one of my all-time favourite big band hits.

More of that in a mo’. First they opened up with ‘Big Dipper’ a composition aired by the Thad Jones-Mel Lewis Jazz Orchestra at the Village Vanguard some 42 years ago. (You want facts? I got’em). Conductor and trombonist Bill Todd shared solo duties with Adam McCulloch on alto sax during this lively dip.

BUT then came ‘Apple Honey’ the Ralph Burns arrangement recorded by the Woody Herman orchestra in 1945. I still have my Parlophone 78 rpm gramophone record of this thundering performance. It’s on the B side of a treasured disc that has ‘North West Passage’ on the A side.

When I bought it for a few shillings second-hand in 1957 I gave it Ten Out Of Ten in my Record Collection log that was actually an LCC school exercise book intended for maths homework. I played ‘Apple Honey’ endlessly for years and it remains a favourite. So I was thrilled when M.C. Bill Todd counted in the tune and the Legacy Orchestra played it with such vigour and verve.

On the original recording the solo honours went to Flip Phillips (tenor sax), Bill Harris (trombone) and Pete Candoli (trumpet) hurtling through the ‘head arrangement’ devised by Ralph Burns and Neil Hefti and driven by Chubby Jackson (bass) and Dave Tough (drums).

Our boys included Tim Sanders who took the keynote tenor sax solo driven by Will Miller (guesting on double bass) and Denis Smith swinging a la Dave Tough on drums. (Hint. It would great to hear the MCLO explore ‘North West Passage,’ ‘Blowin’ Up A Storm’ and ‘The Good Earth’ one Wintry night, mayhap?).

BIG SWING FACE

Meanwhile, there was much more to come during two sets of well balanced material with more challenging, less familiar items betwixt the swing hits. For example an interesting piece ‘Eventually Yours’ by Ken Wheeler showcasing Paul Taylor on trombone was followed by a lively ‘Big Swing Face’ a Buddy Rich band favourite with Harry Evans taking the lead trumpet solo.

A highly original composition ‘Long Day Over’ by Tim Sanders saw his tenor sax dancing against an attractive West Indian rhythm while Will Edwards joined in on trombone and Aureliano Zufolo took his first riveting trumpet solo of the night. (He wasn’t using rivets, just pistons).

There followed the shuffle beat of Sammy Nestico’s ‘The Plunger’ with band’s merry MC Paul Taylor on muted trombone. ‘Return Journey’ by Thad Jones featured effective bass lines from Mr. Miller and the first set concluded with a terrific ‘Opus De Funk’ (Horace Silver) with Silvery piano supplied by Stephen Davies and more funky solos from Tim Sanders (tenor), and Warren Corns and Adam McCulloch (altos).

IN A MELLOW TONE

The Legacy men returned suitably refreshed for ‘In A Mellow Tone’ a Duke Ellington classic long associated with Count Basie and his soft and loud version designed to cause audience members to jump out of their seats at any breakfast dance and barbecue. The Duke himself was honoured with an unexpectedly funky composition ‘Blue Pepper’ from his ‘Far East Suite’ that gave drummer Denis a chance to rock out.

Next came ‘Laura’ dedicated to a girl behind the bar, also called Laura, only for compere Paul to be advised she wasn’t there this month! Definitely on duty was Aureliano Zufolo who offered his most outstanding trumpet solo of the night during ‘Central Park North’ greeted with cheers, that were also accorded to Bill Todd, Adam McCulloch and Andrew Lidell (tenor) whenever they too hit the spot. And who got the final accolade? Mr. Smith for his driving drums on ‘Magic Flea’ that best of all grande finales. CHRIS WELCH

• Many thanks to Peter Burles for the photographs.

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Dave Greenslade was much loved by all who knew him for his charm, sense of humour and loyalty to family and friends as well as those who worked by his side in many different capacities and settings over the years.

Dave and his lifelong friend the legendary drummer and bandleader Jon Hiseman grew up together, sharing an early passion for music, jazz in particular. Dave kept his ties with Jon’s family until the end. When Jon died in 2018 it was a great blow and only recently Dave wrote to Jon’s daughter Ana Gracey: ‘Jon Hiseman was one of my oldest and dearest friends. Occasionally he pops into my head – still leading the band – and he is much missed.’

CHILDHOOD

David John Greenslade was born in Woking, Surrey, England on 18 January 1943. His mother was a singer and pianist who sang in the local church choir and his father Jack was a pianist who ran a dance club in the 1930s. Recalled Dave: “I was born in Woking when my mum was evacuated from South East London during the Second World War. But we moved to Eltham where I lived until I left home. I used to pick up guitarist Albert Lee up from his home in Lee, South London in my Rover 14 car. He lives in America now.

“My parents were musical. My mum had a lovely voice. She was Welsh and sang in the Methodist church choir and did solo spots. She also played sensitive, delicate piano. My father was a piano player and back in the 1930s he had a semi-pro dance band called the Melodians”.

Dave’s parents encouraged him to play the piano and he joined a local church youth club. There he met Jon Hiseman and Tony Reeves who would later become the three founding members of Colosseum.

Dave: “Jon, myself and Tony grew up together and knew each other from the church youth club from the age of 14. I think that’s where Colosseum started, even though we didn’t know it at the time! It would have been around 1958 and Jon was a year younger than us.

“Jon was a natural big band drummer. He was born to it. As kids we listened a lot to Count Basie and Duke Ellington and played along to their records at his house. But as a leader of men Jon got pissed off with having to put the record on for ME to play the drums.

“So he said: ‘There’s a piano in the other room. You can play a bit of piano. Let’s take the drums in there.’ And I never looked back. The best thing he ever did really. That’s how I developed my piano playing and composition. But it was only because Jon wanted the drums all to himself. Ha, ha!”

Dave thought Jon’s mum and dad were fantastic. “And very tolerant. Jon and I used to play in their front room so much it must have driven them mad. I also used to drive my parents mad playing the piano non-stop”.

As well as big bands the pals also listened to Dave Brubeck and were inspired to start the Dave Greenslade Trio with Tony Reeves on bass and so began playing at the youth club. “Even at 16 Jon was a natural leader and good at managing people. He was just that kind of guy. He would have been successful at whatever he did.”

THE WES MINSTER FIVE

After school Dave took a job in the City but also began playing a Bird electric organ with the Wes Minister Five at the Scene Club in Ham Yard, Soho. This band included Brian Smith (guitar) and Paul McDowell (vocals) backed by Hiseman and Reeves.

Dave: “It was the strangest kind of line up. When we had an audition for another gig at the nearby Flamingo Club in Wardour Street I couldn’t take my Bird organ with me. But Georgie Fame of the Blue Flames kindly showed me how to play a Hammond organ. I was hoping I could borrow his organ, but later I bought a brand new L100 Hammond with a Leslie speaker cabinet that cost £700. It was the best investment I ever made.”

AFRICA CALLS

Although the Wes Minister Five did get a spot at the Flamingo in 1963 (where they were spotted by a young music reporter soon to join the Melody Maker) Dave took another plunge and went off to Africa, having accepted the offer of a date with a band in Casablanca. It meant leaving his City job behind aged 20 and embarking on what proved to be a highly dangerous mission into the unknown.

An old Dormobile van transporting the band broke down leaving the chaps stranded and penny-less in the desert surrounded by Arab tribesmen. The lads were rescued by armed police and driven to Casablanca where they stayed for three months playing earthy R&B. Eventually they crossed the sea to France and began entertaining chic customers in smart Paris night clubs including the Moulin Rouge.

CHRIS FARLOWE & THE THUNDERBIRDS

Now aged 21 Greenslade and still lugging his portable Bird organ came home and joined Chris Farlowe and the Thunderbirds. “I had led quite a colourful, musical life even before I joined Chris. The Flamingo was like a Sunday school compared to Casablanca!”

“I asked manager Johnny Gunnell if any of his bands wanted a keyboard player and he said: ‘Yes, Chris Farlowe is looking for one.” Chris was auditioning guys at Klooks Kleek, in West Hampstead. So I turned up with my Bird organ. There were three or four guys already there so I sat there, until it was my turn. Albert Lee was on guitar in the band and he was fantastic. He told me what key the tune was in and off we went. After two or three numbers Chris turned round to me and said: ‘You can stay there all night if you like.’ I stayed for three years.”

The front line of the Thunderbirds now backing Chris had Albert on guitar and Dave on Hammond, as well as a bass guitarist and later on Carl Palmer on drums The tight little band soon rivalled the other Flamingo regulars, Georgie Fame’s Blue Flames and Zoot Money’s Big Roll Band..

Dave: “We didn’t feel inferior in anyway. Chris was a fantastic singer and still is. So we had that as a big plus. We also had Albert Lee and by then I’d learnt quite a lot as a pro musician and had travelled around a bit.

“It was a big learning curve and a privilege to be able to take part. Even so it was hard work and I became more tired than when I had a day job! Chris kept records of what we got paid. He told me after one gig, me and Albert got one shilling and four pence each. Oh the riches and the glamour of it all!”

After three years Dave Greenslade was head hunted by Clive Burrows the baritone sax player who asked him to join the Ram Jam band. “So I joined Geno Washington’s Ram Jam Band in 1967 and stayed for 18 months. It was good for a while, although Geno insisted we wore bizarre uniforms with gold boots!”

COLOSSEUM

Dave spoofs on Jon’s drumkit

Greenslade then had a welcome ’phone call from Jon Hiseman who said: ‘I’m forming a band with no passengers, no drug addicts, no lunatics and just people that can play. Would you like to join? Dave said: ‘Yes please.’ He had no idea what the band would earn but it would be called Jon Hiseman’s Colosseum. Jon had already got a deal with manager Gerry Bron. Dave: “So I went from £90 a week to £20. And I didn’t care! I knew that it was going to be great.”

Dave was reunited with Tony Reeves, Jon and Dick Heckstall-Smith joined on saxophones. They advertised for a guitar player in Melody Maker and drew two hundred replies. Eventually they settled on 19 year old singer and guitarist James Litherland. The ground breaking new group released debut album Those Who Are About To Die Salute You followed by Valentyne Suite in 1969.

Colosseum’s instrumental fire power and lead vocals were later reinvigorated by guitarist Dave ‘Clem’ Clempson and singer Chris Farlowe that saw the band become headliners at rock festivals and on major tours throughout Europe and America.

Dave Greenslade: “1970 was a fruitful period for the band. We formed in 1968 and developed in ’69 going on to ’70 and this was IT. We were being very productive. But – we began to slide down by the end of 1971. We were so bloody busy gigging and recording we never had time to write new music. When we wrote our epic number ‘Lost Angeles’ we were actually in LA. Dick and I got the whole idea sitting by the hotel swimming pool.”

More changes occurred when Tony Reeves was replaced by Mark Clarke on bass guitar and Clem Clempson left Colosseum in 1971 to join another group.

“Clem had an offer from Humble Pie which he couldn’t turn down. It was a good move for Clem’s personal career and Jon just couldn’t face going through the process of finding another guitarist. It was the right time to break up Colosseum. It had been good fun and we were in the right place at the right time, but the band had run its course”.

In 1972 Dave took a bold move and formed a new band simply called Greenslade, that only featured keyboards and with no lead guitar. It included Dave Lawson (keys and vocals) Tony Reeves (bass guitar) and Andrew McCulloch (drums). They released four studio albums with outstanding LP cover artwork by Roger Dean, notably Greenslade and Bedside Manners are Extra in 1973 followed by Spyglass Guest (1974). Time And Tide (1975) had a cover painting by Patrick Woodroffe.

After disbanding in 1976 Dave focussed on solo albums notably Cactus Choir (1976) and the Pentateuch of the Cosmogony (1979). Dave Greenslade also expanded his career by successfully writing much in demand music for the BBC TV series Gangsters, Bird Of Prey and A Very Peculiar Practise between 1975 and 1986. In 1994 he devised From The Discworld an album of music inspired by Terry Pratchett’s novels.

COLOSSEUM REUNION

In 1994 Colosseum was reformed after a surprise meeting with his former band colleagues at a party and continued touring until 2015. Dave: “We could not possibly foresee the reaction we’d have when we reformed. It was outrageous. It was after my 50^th birthday. My wife Jan organised a party for all these guys to come to my fiftieth in a pub near where we lived. I thought we were just going out to dinner with a few friends.

“But my old mate Phil Winterton said: ‘Let’s pop in the pub for a drink before we get to the restaurant.’ So we went in and it was very quiet. Phil said let’s go through the curtains. And all the people I knew in the music business were back there including all of my bands Greenslade and Colosseum! And so we had a great party. It ended up with me accompanying Chris Farlowe on the piano doing Stormy Monday Blues. Clem went up to Jon apparently and said: ‘Listen, you’ve got to put the band back together again.’ And he did!

“Colosseum then went on for years until 2015. Every other year we’d tour and make several albums along the way. The last show was at the Empire, Shepherds Bush”. A new Colosseum formed later, following the death of Jon Hiseman in 2018. (Jon’s beloved wife Barbara Thompson, who played saxophone and flute with the band for many years died on July 9, 2022).

Dave: “Jon’s passing was the biggest shock of my life. No one expected that. He was a strong guy mentally and physically. He was in the middle of forming his new band JCM when Clem Clempson called me and said he was getting a bit worried about Jon”. Clem was in Germany with the band and reported that Jon was behaving strangely.

“He wasn’t well and the next I knew he was flown home and taken straight to Harley Street for consultation and treatment. From that time onwards, it was only seven weeks until his demise. It was shocking.”

Before the run up to JCM Dave Greenslade had been reviving his own career with the release of Routes/Roots (2011) and performing with blues musician Dave Thomas in the duo G&T. More recently Dave had overseen the issue of live Colosseum and Greenslade albums on Repertoire, encouraged by proprietor Thomas Neelsen. During interviews for the CD liner notes he was always happy to reminisce about the music and the memories they brought back especially, about his childhood friend Jon.

JILL HISEMAN’S STORY

Dave Greenslade’s own death was indeed a blow to all those who loved him, including his partner of many years Heather Storr who announced Dave had suffered a stroke in January 2026 . Heather explains he never fully recovered from the pneumonia that followed and he was transferred into a care home in Bungay, Suffolk where he died five weeks later on Sunday June 14^th, 2026.

Many of former friends and colleagues have expressed their sorrow and sympathy including Clem Clempson, Dave Lawson, Tony Reeves, Chris Farlowe and Albert Lee.

Jon Hiseman’s sister Jill who knew Dave from childhood burst into tears when she first heard the news from Jon’s daughter Ana. She wrote in reply: ‘Dave – or ‘Sach’ as we always called him – was such a massive part of my early teens. He was always at our home in Eltham and was like family.

“I shall never forget his laugh and his beautiful smile and how he always treated me with such kindness and generosity of spirit.

‘Rare – considering I was entering my teenage years when young sisters in the 1950s were not always valued by teenage boys, particularly one’s brother’s friends! But I certainly remember valuing Dave as one of the family and would listen to him playing jazz on our massive grand piano, thinking how gifted he was and how unfailingly charming yet at the same time, completely genuine.

‘Our Mum thought he was wonderful. Do you think Ana that your Dad and Dave might be celebrating up there with a jam session? I do hope so.

‘By the way, I do remember that photo you’ve sent me of that kind of session I would dare to sit in at in our Drawing Room after school. Hence your Dad’s school blazer!’

RIP dear Dave.

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One of the problems with witnessing Simply Dan in action is that songs like ‘The Fez,’ ‘Dirty Work’ and ‘Reelin’ In The Years’ remain ringing in your ears for days afterwards.

But then the inspirational music of Steely Dan is timeless and unforgettable whenever it’s played, especially by a band as skilled and devoted to the cause as the modestly named Simply Dan. So, that’s not a problem. It’s a delight!

During three sold-out nights at the Holborn venue the band fronted by singer and guitarist Mark Roadnight rewarded fans with meticulous performances that went beyond mere recreations of the songs devised by Donald Fagan and Walter Becker in the 1970s.

Together with singers Becky Harris and Lauren Goddard and a powerful brass section, the London Dan armed with super powered guitarists and a dynamic drummer developed their own blend of sensitivity and attack, whether as soloists or team players.

On their Sunday night session they celebrated the 50^th anniversary of the release of The Royal Scam (1976) album by playing all its tracks during the first set. They swapped around the running order by opening with ‘The Royal Scam’ and closing with ‘Kid Charlemagne’. In between came ‘Caves Of Altamira’ during which the audience clapped along to the beat and a powerful tenor sax solo from Jack Thrust.

‘Don’t Take Me Alive’ featured the first of many outstanding solos by lead guitarist Darren Spicer with added fills and back beats by Mark Claydon, who surely best deserves the ‘Best Drummer Award’ in any readers poll. (Well, he’d get my vote).

Roger Evan’s keyboards set the mood for ‘The Fez’ while Mark C’s snare drumming evolved into a full-on solo drawing cheers and cries of ‘amazing’ from aficionados.

The effective reggae rhythm of ‘Haitian Divorce’ was matched by ‘Everything You Did’ that came before ‘Kid Charlemagne’ with moody keyboarding by Roger Evan and impassioned singing from Mark Roadnight and the girls. Phil Mulford, (last seen with Ana Gracey’s Doxey Box) depped faultlessly for David McLeod on bass guitar without any rehearsal.

Guitar fans noted Darren switched from a Gibson ES 335 as played by Larry Carlton on The Royal Scam album to a dark brown Gibson Les Paul Studio for the second set. More Steely classics included ‘Aja’ (when Mark Roadnight blew into a pink Melodica), ‘Pretzel Logic’ and a rousing ‘Dirty Work’ showcasing Becky and Lauren.

Felix Shepherd (trombone), Mark Wilson (alto sax) and Jack Thrush were often hidden away on the cramped stage, but their solo skills and section power was a huge asset whether the Dan was trying not to ‘Lose That Number’, escape from ‘My Old School’ or just enjoy ‘Reelin’ In The Years.’ Their fans (including me) enjoyed every moment. CHRIS WELCH

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It was appropriate that the group played ‘A Place in the World’ a stomping number from their most recent Imperfect Stranger (2025) album as one of their first items, drawing cheers and whistles from supporters trying not to spill their lager in excitement.

After all the SEB deserve a place in the higher echelons of the music biz world. Especially when they sustain the exuberance with ‘Good Intentions’ as sung by Steve and bass guitarist/vocalist Peter Wass.

The later track is included on the band’s Live At The Boom Boom Club CD and features one of those incredibly hot solos from lead guitarist Jon Kershaw always a highlight of SEB shows, driven by Mark Taylor’s dynamic drumming.

Steve explained Mark had only just returned from New York, so Croydon was honoured to have him on stage with his Gretsch kit energising a non-stop set of ‘rock at its best’ classics, including ‘Almost Talking’ along with the eerie ‘Sugar and Blood’. Both titles are from the aforementioned perfect Imperfect Stranger we urge readers to purchase from their nearest gramophone shop (sorry ‘on-line’ store).

While the tom toms thundered during the later track, Mr. Eggs sang his heart out on the more restrained ‘Devils & Angels’ that floats along in 3/4 time.

Actually the whole arrangement builds to a climax when everybody sings in unison – ever more heated lead guitar adding to the drama before Steve’s acoustic guitar concludes this remarkable composition in a more reflective mood.

Really they should be playing all this advanced material at the Royal Festival Hall and being awarded a Mercury Prize for such enterprising creativity. BUT there was more to come! Yes, their newest song ‘Bridge To My Soul’ was unveiled for more critical scrutiny (‘Bravo!’ Art Groovestein, New York Times) later followed by those irresistible rockers ‘Turn It Up’ and ‘Slipstream’ and Peter’s sensational drive down his favourite Bob Dylan number ‘Highway 61 Revisited.’

It was nearly time for the band to drive off on their own rock’n’roll highway with an intense ‘We Humans’ and ‘Roll Over’ that nearly had we humans at the bar rolling over in our search for last orders and demands for yet more encores. Rest assured, I have the ‘Strangest Feeling’ the Steve Eggs Band will be back. CHRIS WELCH

Many thanks to Sári Toplek for the photos!

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April 6^th, 2026

‘Where Am I?’ was one of many hot numbers delivered by the Mick Collins Orchestra during another exciting performance at their regular club venue, on a windy Easter Monday night. However, during a tense pause before the show began, a more pertinent question was ‘Where’s The Drummer?’

Saints preserve us. There was a gap at the side of the stage where the drum kit usually nestles. It was left to trombonist and M.C. Paul Taylor to hold the fort and explain why he hadn’t yet struck up the band.

“The drummer’s car won’t start and neither will the band,” Paul told the audience, seated with jaws dropped and glasses of ale clutched in shaking hands. In fact they were surprisingly patient as Paul filled in by reciting some original comic verses.

Thence came a welcome sight. Denis Smith aided by a posse of helpers entered the hall laden with his kit, hastily set up, cymbals adjusted and drums made ready for action. Thank the Lord, his car had eventually started and got him to the gig, if not on time, but certainly most welcome.

The band sprang into action and trumpets and saxes swung into ‘Ray’s Idea’ a lively 1940s bebop tune devised by legendary bass player Ray Brown and arranger Thad Jones. Then came a surprise when during ‘Mean What You Say’ (Thad Jones), Aureliano Zufolo was featured in an hypnotic trumpet solo that came out of the blue and was absolutely riveting.

Not to be outdone, fellow trumpeter Dylan Barnes matched him for taste and control on a beautiful rendition of the ballad ‘I Remember Clifford’ (Benny Golson) also greeted with vigorous applause.

Now it was time for the saxmen to be given the spotlight (Memo to Paul Taylor: Fix up a spotlight) and Paul also leapt into action, not with a light bulb, but with his trusty trombone played at max speed.

‘Best Coast’ an upbeat arrangement by John LaBarbera for the Buddy Rich band was delivered in 3 / 4 time. Then the brass section muted their horns, when Stephen Davies chose ‘Stolen Moments’ for his piano feature, a tune by Oliver Nelson that included a tastefully delivered coda.

GOLDEN HORNS

It was back to an upbeat swinger ‘Like That’ with masterful Dan Gray on trumpet, but it was the ear catching ‘Out Of The Mist’ a slow Kenton-esque piece that recalled the days when big band leaders wanted jazz to be taken as seriously as classical music. Our leader Bill Todd (trombone) leapt to stage front to conduct the dramatic conclusion as Owen Wales’ bass trombone brought us out of the mists of time.

But it was a ‘Switch In Time’ a Count Basie fave by Sammy Nestico that saw Bill back on stage for a truly powerful slide trombone solo of his own. Next came ‘A Pint Of Guinness & Dry Roasted Peanuts’ according to my note book. That sounds like a Tubby Hayes composition but was actually my half-time order at the bar.

The Legacy Orchestra just got better (if that’s possible) and hotter during a second half, that also included a ballad when Tim Sanders played beautiful tenor sax on ‘Yesterdays’. There were also scorching solos from Adam McCulloch (alto sax) and Magnus Pickering (trumpet) amidst the roar of ‘Moment In Time’ and there was another outstanding solo by Aureliano Zufolo on Oliver Nelson’s ultra cool ‘Miss Fine’.

The whole band stopped to allow Aureliano to blow an engagingly jaunty intro to one of the most impressive trumpet solos we’ve heard since…well since Dizzy Gillespie was at Ronnie Scott’s club many moons ago. And the audience cheered.

When it came to the grand finale with Basie favourite ‘Magic Flea’ it was drummer Denis, who’d been swinging all night long, that drove the  band to an exhilarating finale. Thank God his car started! CHRIS WELCH

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When is a Big Band a GREAT Big band? Answer: When it’s the Mick Collins Legacy Orchestra in full swinging mode, delighting audiences with a richly varied selection of top class arrangements.

So it was a pleasure to see the MCLO playing to a packed audience of enthusiastic supporters ‘one more time’ (As Count Basie would oft decree) at their regular monthly Monday club session.

T’was a cold March night yet all the seats were taken at the South East London venue. And the bar was crowded too as conductor Sir Bill Todd laid down his trombone to count in the band on their opening fusillade ‘Don’t Get Sassy’ as featured by the Thad Jones-Mel Lewis Big band of yore.

The all-powerful trumpet section brought us to attention with a triumphal fanfare as drummer Denis Smith set up a swinging beat interspersed with nifty ‘fills’ before Tim Sanders took the first of many fine tenor sax solos of the evening.

Next came ‘The Love We Knew’ a Pete Hurt composition formerly called ‘Soft Song’ that leader Bill explained was being played for the first time in many decades. It arrived with a double bass introduction from Tim Pharoah and a tasteful keyboard solo launched by Stephen Davies. As the ballad evolved Adam McCulloch contributed a melodic alto sax foray and flautist Sim Murray added a crystalline purity to the mix.

The first set progressed with the dramatic ‘Song of the Seer’ and bluesy ‘Angel Eyes’ notable for impressive ensemble playing interspersed with more high speed alto sax-ing from the masterful Mr. McCulloch.

‘Three And One’, a tricky Thad Jones arrangement featured one of several hot trumpet solos of the night by Aureliano Zufolo as well as highlighting the entire band’s consummate sight reading skills.

It was nice to hear the familiar strains of ‘A Taste Of Honey’ a pop hit that the Woody Herman orchestra once adopted. Dylan Barnes’ commanding trumpet dominated here and as MC/ trombonist Paul Taylor explained Dylan took the role of famed high note specialist Maynard Ferguson ‘But without the waistcoat.’

GIVE US STRENGTH

Another highlight of the first set was ‘The Industrial Strength Stomp’ a lively tune set up by muted trombones and bestrewn with complex ensemble passages before an amazing set of solos, first from Joe Brown (tenor sax) and then Aureliano adding choruses fast, furious and full of surprises.

After a well earned break it was time for Stephen Davies to shine again on his up tempo composition ‘Gee Those Blues’. The sizzling second set also included ‘El Vino’ and ‘Chaconne’ with Denis using brushes on his snare drum painting a rhythmic picture awash with more alto sax solos. Gil Evans ‘The Maids Of Cadiz’ and Thad Jones with ‘Little Pixie 2’ were all highlights, the latter notable for its tight knit muted trumpets paving the way for a nimble Paul Taylor trombone solo.

A complete change of mood resulted in one of the evening’s highlights, an outstanding performance of ‘Body & Soul’ by Marcus Pickering on flugel horn. We the audience raised our glasses to cheer final numbers ‘Reepicheep’ and ‘Every Little Beat Helps’ a Sammy Nestico creation for the aforementioned Mr. Basie and played with joyful enthusiasm climaxed by a dynamic Denis-ian drum solo. You could almost imagine the Count smiling approval from the heavens above. Plink, plink…plink!

Photo Credits: Peter Burles

CHRIS WELCH

HOT NEWS: It was confirmed at the Orchestra’s previous Monday gig in February that their most recent recruit, 18 year old trumpeter Aureliano Zufolo has been accepted by the Royal Academy of Music and will commence his studies next Autumn.

Aureliano was also spotlighted in the February issue of JazzWise magazine in their feature The Shape of Jazz to Come 2026. He is among the critics’ predictions for those young musicians who will ‘Shine in the months to come.’

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A close encounter with a Doxey Box is always an uplifting experience, especially when it turns out the band is evolving, maturing and become ever more entertaining.

Of course there is only ONE Doxey Box – the remarkable band conceived by singer, composer and band leader Ana Gracey along with saxophonist Luiza Lale. But it has undergone subtle change since we first saw the Box unwrapped at such venues as the Pizza Express Soho and Sound Lounge in Sutton.

The same humour, passion and sheer musicianship remain. The band members are much the same. But there is a relaxed air about their performance levels and some of the cool authority of seasoned jazz players pervades the mix of styles that makes the Box so…well Doxey.

They certainly warmed up the audience at the Pheasantry, Kings Road, Chelsea on a damp, chilly February night. They cheered during the band’s two sets and laughed along with Ana’s jokes and observations when she introduced both the songs and her loyal Doxey Box cohorts.

COOL ACTION

As I drank wine and demolished a Pizza I had good view of the band, although I would have preferred to be sat on the other side of the stage, where I could actually see the drummer in action. Whoever it was behind the kit was really cool and the snare drum in particular had a great response. (We drummers appreciate these things).

But in compensation I was treated to seeing Ru Lemer close up on the keyboards playing with a dexterity and passion that complemented the songs, whatever the mood and style.

The first number was a heartfelt song highlighting the perils of the climate crisis and of motoring in heavy traffic with cries of ‘Beep beep get out of the way!’ protesting at the fumes seeping ‘under my door’. Its funky electric piano tick-over was driven into top gear by Phil Mulford’s nimble bass guitar, always in control but never over steering, if you’ll forgive the motoring metaphors.

Their second song was delivered in ¾ time with a fine saxophone solo from Ana’s song writing partner Luiza Lale while Ru switched to grand piano. Thence came that powerful number that keeps us all grounded ‘Gravity’ followed by the slow, funky blues ‘Helluva Day’ sung with great passion by Ana and driven by back beat drums in cohesion with Phil’s solid bass.

THE RULES DON’T APPLY

A subsequent song ‘The Rules Don’t Apply To Me’ that Ana explained was about her school days, drew laughter from old friends in the audience. Apparently her antics lead to the Head Mistress issuing a detention order to a friend who had engaged in ‘Suspicious behaviour’.

One of my favourites was ‘Turn Up And Turn On’ with nimble electric keyboarding and a distinctive alto sax motif. All this led to a splendid outing from the rhythm section with dancing snare and bass drums kicked into play by Annie Mumford (as I later found out) and a Mulford (no relation) bass solo to boot.

Ana sang ‘Keep On Moving’, a new track inspired by the Northern Soul dance movement of yore and there was much encouragement from front row Doxey fans. But Ana was in more reflective mood in the second set when she embraced the ballad ‘Don’t Say I Told You So’ with an outstanding vocal performance. Luiza also drew cheers for her extended alto sax solo on ‘Money Honey’ the audience double-clapping along to the beat.

We were invited to join the band by shouting ‘Black Sheep!’ during the song of the same name with Ana counting them all in to be herded along by another Phil Mulford baa-ss solo.

‘Grace Kelly’ a highlight of Ana’s Wicked Games 2019 solo album proved a special treat when father and son Peter and Ru Lemer sat together on the piano stool to play the theme.

Would there be an encore? Yes indeed and the Pheasantry basement rocked with an exuberant ‘Ready, Steady Go!’ a cheerful ditty launched with a great rhythmic riff.

It was the end of the show and everyone scrambled from their tables to bestow congratulations on Ana, Luiza, Phil, Annie, Ru and Peter for yet another Doxey Box triumph. CHRIS WELCH

 P.S. Later I finally discovered the secret of Ms. Mumford’s outstanding snare drum sound. Annie sports a Ludwig Supraphonic, the King of Snare Drums – as played by John Bonham with Led Zeppelin. Bonzo would have been proud of her.

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Sky Dancing with Martin Simpson

One of the musical highlights of the year was the welcome appearance of award winning folk singer and guitarist Martin Simpson, who gave a riveting one-man show at St. George’s Church, Beckenham (November 15^th, 2025).

A special presentation by The Arts At St. George organisation it drew a pew-packed crowd mesmerised by Martin’s performance that showcased not just his choice of original songs but his calm, yet soulful mastery of his beloved hand crafted guitar.

We (a group of friends) first spotted the lone figure sitting quietly at a table in a nearby restaurant, having dinner before the show began. “Is that Martin Simpson?” we whispered. So I went across and politely asked if he was the artist soon to perform in the church across the road – indeed it was!

In the ensuing conversation Martin explained he’d endured a nightmare six hour train journey to Beckenham due to floods, but was looking forward to playing songs, many featured on his latest album Sky Dancers. We also discovered we had a mutual friend in Melody Maker’s folk critic, the late fondly remembered Colin Irwin.

Meals over, we diners gathered in St. George’s, a huge building regularly the home of many top bands and acts. But there were no drum kits tonight or thunderous ranks of heavily amplified guitars.

Just the lone yet commanding figure of Mr. Simpson, ready to sing and caress his guitar and talk about his compositions in a conversational style almost as beguiling as the music.

The many musicians in the attentive audience (including members of the Steve Eggs Band) were soon focussing on his bottle neck technique as much as his banjo playing and the message of songs about his heroes Paul Robeson and Woody Guthrie whose records he’d heard at a young age and would change his life. There were other influences too and it was especially engaging to hear Martin sing Bob Dylan’s ‘Don’t Think Twice, It’s Alright’, while accompanying himself with a ragtime rhythm on his trusty (nay beloved) guitar.

If you’d like to discover Martin’s muse further then do explore his double CD Skydancers released on the Topic label. The rich variety of tracks will take you on a magical journey through a country mile of songs like the aforementioned title track ‘Skydancers’.

Intriguing to discover the back ground to items like ‘Lowlands/Billy Waters’ that have their roots in Afro-American work songs and sea shanties. Among the many delights is the merry ‘Alan Tyne of Harrow’ an 18^th century highway man’s ballad and the Irish ‘Donal Og’ which Martin explains ‘broke my heart’ when he first heard it sung by June Tabor in 1977.

Throughout the album Martin is given sensitive accompaniment by an array of like-minded spirits including Louis Campbell (acoustic/electric guitars), Andy Cutting (diatonic accordion), Liz Hanks (cello), Greg Leisz (pedal steel), Ben Nicholls (string bass) together with a chorus of backing vocalists.

Of course they couldn’t make it to our church on time. No need. On this stormy night we just sat back and let Martin’s inspirational music pour over us like ‘Buckets Of Rain.’ That’s another song by the way!

We Meet A Perfect Stranger

Pizza Express Jazz Club, Soho, November 11^th 2025

On Armistice Day there came another memorable occasion when an extraordinary 10-piece band led by conductor and bass guitarist Chris Sansom gathered below stairs at the Pizza Express, Dean Street, Soho. The intention was to recreate a musical concept he had first conceived way back in 1974 and is now featured on Perfect Stranger’s acclaimed debut album Unfinished Business (Spark!).

We had a perfect seat to view proceedings, just behind the Steinway grand piano played by Alcyona Mick with dazzling expertise and only feet away from Mr. Sansom, the man in charge of proceedings. And close enough to see percussionist Rob Millett showing how triangles really should be played.

There is something exciting about hearing an experiment being carried right before our eyes and ears, rather like witnessing Edison switching on his first successful light bulb. We were flooded with the light of musical inspiration, as the band members mindfully studied their demanding charts to ensure accuracy while letting their hearts beat with passion throughout two sets that enthralled the packed audience.

It was the bass and drums of Paul Michael and Jonas Golland that set a mysterious mood for opening item ‘Lugubrious Boots’, building up tension before the brass section joined in to create a perfect orchestra. And it was the tasteful use of chimes, rung out by the multi-tasking Rob Millett that brought this first intriguing piece to its sonic finale.

During performances Chris Sansom engaged the audience with conversational introductions and a brief history of the Strangers project and its evolution. He explained that along the way he had tried to update the concept in the 1980s and this resulted in the next number of the evening ‘Bebop Number 8’.

A real bop swinger that included a vibraphone brought into play but the emphasis was on integrated unison passages rather than improvised soloing in the jazz tradition. But that would came later.

It was also intriguing to hear the late Frank Zappa’s composition ‘Igor’s Boogie, both Phase 1 & 2’. When interviewing Frank for a Melody Maker article I once asked him about the origins of Igor and his ‘Boogie.’ He answered by pencilling the musical notes on a piece of manuscript paper which I kept, but sadly lost over the years. (Ghostly voice: ‘It might be in your attic’).

FRANK ZAPPA SPEAKS

It did feel at times as if the ghost of Frank Zappa was hovering over us in the Pizza Express, ordering Chris Sansom to ‘Make a jazz noise here.’ And so we so were offered the mellow tone of a flugel horn solo by George Jefford before the ‘noise’ changed and Jonas G. locked into a funky beat while Rob Millett chimed in with more melodious percussion.

It was the sax section of Bob McKay and Martin Hathaway who raised the temperature with a barrage of solos, as they plucked their various horns from stands that resembled an instrument dealer’s shop window.

Abrupt change of mood. ‘The Children’s Hour of Dream’ by Charles Mingus demanded hellish drum parts be played by Jonas that seemed more like a nightmare than a dream, at least in terms of sight reading.

During the second set we moved on from Zappa to Beethoven starting with ‘Ludwig’s Minivan’ replete with funky guitar by Eddy White and Alcyona flitting betwixt keyboards when her solos invariably drew enthusiastic applause. Soon we were diving into ‘Life And Times’ a symphonic piece that graces Perfect Stranger and includes ‘Formative Years’, ‘Ankle Deep In Dust,’ ‘Midlife Crisis’ and ‘It’s Weird Being The Same Age As Old People.’

We were regaled with a torrent of moods interspersed with more outstanding solo gems from Alcyona and Martin Hathaway (alto sax) not to mention the speedy snare drum brush work of Jonas Golland. By evening’s end, it felt like the Perfect Stranger had become an old friend.

A MEMORABLE NIGHT WITH TONY BANKS & ROCKING HORSE MUSIC CLUB

Trading Boundaries

Sheffield Green, East Sussex

November 14, 2024

It truly was an amazing event when Tony Banks, founder member of Genesis, one of the world’s most famous and successful rock groups was special guest at an evening devoted to conversation and live music.

Held under the auspices of Trading Boundaries, the organisation that has created a unique venue in the heart of the Sussex countryside, it was the night when Tony the legendary keyboard player and composer, cheerfully engaged in a two hour long conversation with yours truly about the genesis of Genesis.

It was also the night when American guest band Rocking Horse Music Club later performed live on stage displaying their affinity with the British style progressive rock that inspired its formation and evolution. Needless to say, they went down a storm!

But first, after a journey through stormy weather to the former 18^th century coaching inn, it was nice to be greeted by organiser Jenny Ross and shown to the accommodation where I would stay overnight with Marilyne, my wife and supporter, who literally supported me when I realised I needed to research the entire history of Genesis before daring to venture on stage. It seems I was about to faint. But on meeting Tony and his wife Margaret, all our worries faded away, as they were so charming and friendly.

Of course I had interviewed Tony many times in the past, from New York USA to Tokyo, Japan during Genesis tours over 20 years. We had endured everything from riots, when a show was cancelled in Tampa, Florida to experiencing earth tremors in Osaka. But tonight on firmer ground it was important to stay focussed. We sat in front of a sold out, standing room only crowd of devoted Genesis fans, who probably knew more about the minutiae of the band and Tony’s history than either of us!

And so it came to pass, we were announced, the spotlight shone and the microphones were in place. Then came the moment all public speakers fear when the cry of ‘Can’t hear you!’ went up. A better ‘mike’ was thrust into my hand and we began the Q&A that proved so relaxed, informative and thoroughly entertaining all thanks to Mr. Banks calm and witty delivery.

SILENT SUN

He began by quoting verbatim without notes my Melody Maker review of the first single release by the newly formed Genesis on the Decca label in February 1968. It was ‘Silent Sun’ a track from their debut album From Genesis To Revelation produced by Jonathan King. Apparently I described their performance in less than flattering terms.

Tony told how as a 17 year-old still at Charterhouse School, he eagerly read my MM review in which its opening lines proclaimed ‘This is muck.’ He was devastated. Until he read further when I attempted to repair any damage caused by saying: ‘I’m joking’ adding words to the effect that it wasn’t at all bad for a new young group.

Henceforth we discussed the pantheon of great albums and hit singles Genesis would enjoy in the decades ahead from Trespass to Nursery Cryme and Foxtrot in the early Seventies, onwards to The Lamb Lies Down On Broadway and ultimately Genesis, Invisible Touch and We Can’t Dance in the 1980s. If we didn’t touch on all of them, then we can always do another two hours. Meanwhile he did reveal his favourite Genesis compositions included ‘Supper’s Ready’, ‘Duchess’, ‘Turn It On Again’ and ‘Mama’.

ROCKING HORSE

Tony also developed his own solo career during the Genesis  years with a succession of well received albums beginning with A Curious Feeling (1979) and he was inducted into the Rock And Roll Hall of Fame in 2010. Although now officially retired following the 2021 Genesis farewell tour Tony took time out to write and perform on ‘The Haunted Life’ a track on The Last Pink Glow (2025) album by Rocking Horse Music Club the American guys he particularly likes.

The Horse rocked up to perform two nights at Trading Boundaries, their last show following the Q&A session, greeted by the enthusiastic audience patiently awaiting their appearance on stage after  the warm up act of Banks & Welch had finally quit. The fans gave them an ovation for a series of rockin’ and bluesy performances that also included the more sombre ‘Haunted Life’ with Justin Cohn (vocals) and Brian Coombes (keyboards) delivering the song inspired by a story by Jack Kerouac.

So, how do we follow that? Well Tony Banks’ official biography Man of Spells – The Magician of Genesis (King Maker Publishing) written by Mario Giammetti is due to be published on February 19^th, 2026. I’m sure it will get a good review.

CHRIS WELCH

Photo credits: Richard Davies

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Phew – what a frantic year for live gigs, events and world premieres. You think the Swinging Sixties were riotous? You ain’t seen nuthin’ like the…what decade are we in? Ah, yes the Twerkin’ Twenties!

In the last few months your Raver has been out and about night and day in search great new bands, famous rock groups, media events and rising stars of pop, jazz and folk music. Oh and encountering world renowned legends whose careers have enthralled generations of fans around the globe en masse.

LED ZEPPELIN, SIMPLY DAN & RHYTHM & BLUES

Where shall we start our ‘journey’ as politicians like to refer to when busy creating more havoc than any death metal band? Okay, 2025 began with the premiere of acclaimed documentary Becoming Zeppelin shown at London’s BFI IMAX cinema in January and conceived by director Bernard MacMahon. It boasted rare footage of live performances and new interviews with band members that drew cheers from the invited audience.

Were any of the Zep stars present? We were initially told ‘No.’ But, it turned out Jimmy, Robert and John Paul were all there – in disguise!

That same month, I was invited to write a foreword that turned into a lengthy chapter for a new block buster book Led Zeppelin: The Only Way To Fly (Lansdowne) devised by author Richard Morton Jack. On publication in October it received rave reviews and was launched at Books On The Rise, a specialist book store in Richmond, London on November 13. Richard and myself gave a talk to an attentive audience who included Dave Lewis, editor of Tight But Loose, the Led Zeppelin fan magazine and website, who kindly laughed at my more repeatable Zep stories. The book launch talk was followed by convivial drinks with Zep fans from all over the globe in the pub next door.

During the summer I had lunch on two occasions with Becoming Zeppelin’s enthusiastic director Bernard, who hinted there might well be a follow up Zep movie. He also contemplates making a documentary about the upheavals that have revolutionised the music industry. He’ll be reeling in the years…

REMEMBERING STEELY DAN

If recalling the Golden Years of Led Zeppelin wasn’t enough, it was a delight to hear a live band that regularly recreates the music of Steely Dan with a degree of perfection barely thought possible. When Simply Dan appeared at the Pizza Express jazz club in Holborn (September 27^th) they gave a performance that was not just a ‘tribute’ but a celebration so accurate and heartfelt it moved at least one lifelong ‘Dan’ fan to tears. He explained he’d never expected to hear ‘Pretzel Logic’ and ‘Rikki Don’t Lose That Number’ reborn and rockin’ in the 21st Century.

Simply Dan is fronted by lead singer/ guitarist Mark Roadnight who introduced a marvellous medley that began with the aforementioned ‘Pretzel Logic’ from the original band’s 1974 album. I couldn’t resist telling lead guitarist Darren Spicer in the intermission, I’d interviewed composer Donald Fagen, when he visited Melody Maker that year.

PRETZEL LOGIC

Donald was very patient when I innocently asked ‘What’s a pretzel?’ He kindly drew one on my notebook. We got on well because I recognised that ‘East St. Louis Toodle-O’ another LP track, was a cover of a 1920s Duke Ellington composition. (Steely Dan sent the Duke a copy of their version, but sadly got no response).

As Simply Dan heated up during two sets that rocked and swung in equal measure, the magical mood they created was enhanced by charming girl vocalists Becky Harris and Lauren Goddard who sang with a passion that matched the musicianship.

When the band romped through ‘Florida Room,’ ‘Time Out Of Mind’ and ‘Don’t Take Me Alive’ we grew to appreciate the individual talents of the bandsmen, notably lead guitarist Darren Spicer and keyboard player Roger Evan.

A blazing brass section comprising Felix Shepherd (trombone), Mark Wilson (alto sax), Jack Thrush (tenor sax) and Tristan Gaudion (trumpet) helped raised the temperature even higher.

During ‘Midnight Cruiser’ and ‘Caves Of Altamira’ (from the 1976 Royal Scam LP) the faultless rhythm section excelled. Drummer Mark Claydon entered the ‘Caves’ with a funky beat, after swinging the ‘Cruiser’ with panache that would have met with Mr. Fagan’s approval – had he’d dropped by to dine on pizzas rather than pretzels.

‘Aja’ a slow ballad offered a chance for Roger’s keyboards to state the melody before drums and bass developed a more casual groove. After ‘Night By Night’ and ‘Gaucho’ came ‘My Old School’ from 1973’s Countdown To Ecstasy when friends in the audience began singing along in harmony.

SIMPLY DON’T LOSE THAT NUMBER

The second set dove into ‘Rikki Don’t Lose That Number’ that hasn’t lost its appeal since first heard on Pretzel Logic a mere 51 years ago. And we all enjoyed ‘I.GY.’ from Donald’s The Nightfly album, the composer’s tribute to late-night radio DJs and a song celebrating memories of The International Geophysical Year. The evening progressed with ‘The Fez’ when the brass section’s teamwork excelled again amidst heated lead guitar solos. Then came an amazing drum solo from Mark ‘Turkish cymbals’ Claydon greeted with cheers by the audience that stood up to shout their approval.

Yep, we were all ‘Reelin’ In The Years’ during that memorable night at the Pizza Express when the girls sang ‘Dirty Work’ and ‘Haitian Divorce’ and the band played ‘Do It Again’. We all wanted Simply Dan to simply do it again – as soon as possible.

SANDROCK RHYTHM & BLUES BAND

Lord Herbert, Woolwich

November 8^th 2025

When you want a good time and hear great music by a first class entertaining band, then you don’t have to head for the O2 or Wembley Arena. Yes, you can still find it down at your local pub!

So it was a special pleasure to hear the Sandrockers blowing up a storm at the Lord Herbert, a friendly live music venue where fans can dance as well as quaff the occasional glass of ale. (Or lager in my case). Perching on a stool kindly provided by the staff and only feet away from the band, it was possible to soak up the atmosphere as well as the music.

Much of the excitement was generated by the cheerful personality of singer, bass guitarist and band leader Tony Myers. He not only launched the band into a succession of soul, blues and rock hits but even danced out into the audience, when the excitement began to peak.

There wasn’t much room for the band crammed into a corner of the room but you could see them close-up and they didn’t have to play at Who style volume to win over the enthusiastic audience.

The front line consisted of Tony flanked by excellent singer and lead guitarist Graham Parker while keyboardist Simon Frost delivered all manner of styles from urgent R&B to funky blues.

GREEN ONIONS

Up on the stage sat driving drummer Chris Hussey commanding his sparkling green Yamaha kit with all the expertise of a musician long dedicated to the art of percussion. Their set kicked off with Booker T & The MGs’ ‘Green Onions’ (In retrospect this was a bow to the MGs’ guitarist Steve Cropper who died on December 3^rd). It was followed by ‘Everything’s Alright’ another dip into groovy mid-Sixties fare and a fine version of Steve Miller Band classic ‘The Joker.’ Graham Parker sang the narrative lyrics with calm assurance while skipping through catchy guitar riffs and his tasteful solos were complemented by Simon’s sensitive keyboard touches.

Tony Myer’s smoothly melodic backing was also a lesson in how to play bass guitar as a musical instrument and NOT a National Grid electricity generator, as I fear is often the case. The mood created by this thoughtful performance was one of the highlights of the evening. ‘Yeah!’ was the hip-notised audience reaction.

Tony rocked out on ‘Every Dog Has It’s Day,’ with alert back beats from Chris Hussey while Graham was in his ultra cool element on ‘Can’t Find My Way Home,’ Steve Winwood’s 1969 Blind Faith hit.

DANCIN’

Otis Redding’s ‘Dock of the Bay’ was a perfect tune for Tony to sing while taking centre stage and a swinging ‘Rocking Chair’ closed the first set with Mr. Myer’s dancing out into the audience with some of the grooviest dance steps seen outside of New Orleans.

Before the break Tony took the opportunity to announce the band was changing its name. “No more Sand Rock – from now on we are the Back Line Rhythm & Blues Band”. Band bookers please note!

The second set saw the audience ever more heated in their approval, dancing and cheering. Even a friendly dog joined in the applause, barking with its owner’s consent. By now my note book was becoming indecipherable but I do recall shades of ‘Papa Was A Rollin’ Stone’ the 1972 Temptations hit, with a tick tock snare drum beat complementing Tony’s insistent bass. The piece evolved into a real mash up with Simon’s Motown keyboard adding soulful atmosphere.

DRUMMIN’ MAN!

A highlight of the Back Line’s show was Chris Hussey’s dynamic showcase on the Spencer Davis/Steve Winwood hit ‘I’m A Man’. Sung by Graham and Tony and with Simon underpinning the groove they built up tension before Chris took off in a tom tom frenzy. He turned his kit into a one man band, interspersing cymbal crashes with snare and bass drum rhythms all heading for a climax greeted with well deserved cheers.

There was more fun to come, the audience dancing when the band dialled up telephonic hit number ‘634 5789’ before 11.45 p.m signalled it was getting late. Hey ho for the encores and Graham sang Robert Johnson’s ‘Sweet Home Chicago’ complete with splendid blues guitar choruses. Yells of ‘More’ had to be answered with ‘High Heel Sneakers’ the whole band cookin.’ Yep, that’s the power of Rhythm And Blues. May their force be with you. CHRIS WELCH

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