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Thread: 1967-02-24 Leicester University, Leicester, Leicestershire, England

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    1967-02-24 Leicester University, Leicester, Leicestershire, England

    Friday, February 24th, 1967
    Leicester University, Leicester, Leicestershire, England

    no recording has surfaced
    Last edited by Dolly Dagger; 04-01-11 at 05:54 PM.

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    Re: 1967-02-24 Leicester University, Leicester, Leicestershire, England

    Last edited by billo528; 03-31-16 at 07:36 AM.

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    Re: 1967-02-24 Leicester University, Leicester, Leicestershire, England

    Friday 24 February 1967
    Leicester University Union, Percy Gee Buiding, University Road, Leicestershire, England. JHE
    Concert (60 minutes) between 21:30 & 01:00.
    Support: The Ebonites
    Tickets: 6s.
    JHE fee – Noel: “£75.”
    Songs: unknown

    Noel: “Good gig, bad sound.”

    John Taylor of Hollick & Taylor studios in Perry Barr Birmingham where many of the local groups recorded during the 'frenetic' years of 1963 to 1966. "In the mid-60’s we would have three or four local groups in here most days. Sometimes they would come of their own volition, other times they would come because record companies had given them money to use in a studio. In those cases the end-product would be sent to the company, not always to be used. Sometimes the company would do the actual pressing of the record"
    "If we look into the diaries from those years we find an incredible number and variety of groups. There are references to groups like the Blackhawks, the Ebonites, Sombreros, Executioners, Challengers, Ambassadors, Chad Wayne and the Originals, Johnny Evil and the Satans, the Shanes, etc. etc. etc.
    Those groups listed are only those for whom we did pressings. There must have been loads more who recorded here but had no pressings done here.”

    Notable Swindon Gigs in 1968


    30/11/68 The Ebonites, White Tiles, Reuben George Hall, Cavendish Sq., Swindon

    It became more obvious the more we delved into the history of Pama records that we began to realise that the Pama sound was actually a very indigenous sound. Whereas UK soul was merely imitating an American sound from far away, UK reggae was for the most part played and appreciated by people much closer to the source of the music - Jamaicans living in England.
    Though the fanbase was initially limited to these ex-pats and a secret but growing legion of white admirers (who picked up on the music and treated it as the key to a mystery they were pledged never to reveal), the musicians were nearly always Jamaican. This was not true at Pama however, because they did use a range of home-grown talent in their British recordings.
    These local fans/musicians brought very different backgrounds and offered different contributions. Of course, the Jamaican musicians were the stars, but due to the fact that a lot of Pama releases were recorded in England, there was a lot of local interest. In fact, Pama signed at least three UK based bands - The Mohawks, led by keyboardist Alan Hawkshaw, Mood Reaction, the first white band to be signed to a reggae label and The Inner Mind, led by Huddersfield based organist Ian Smith.
    The Inner Mind, as well as recording much of their own material, also backed such names as Laurel Aitken, Owen Grey, Alton Ellis, and Winston ‘Groovy’ [Tucker] (who came to Britain in the mid 1960's and formed a band The Ebonites for touring in the UK and Europe, and became one of Pama's top artists from 1968 - 73)[...]

    Winston Groovy Biography by Jason Birchmeier
    [...] Then, in 1961, he moved to England to join his father, who was living in Birmingham. There Winston became the lead singer and songwriter in a group called the Ebonites,[...]

    The Jamaican reggae singer known as Winston Groovy was born as Winston Tucker in 1946 in Kingston, Jamaica. Winston recognised his love for music at an early age and began paying attention to the local music scene.
    In the 1960's he and his father emigrated to Birmingham, London and he quickly joined a band there called The Ebonites, where he functioned as their lead singer and songwriter. He and the band toured London extensively, even making their their way to France, but they never made any formal recordings. This changed when he moved to London in 1969 where he met Ska legend Laurel Aitken who was eager to record the singer. It was at his point that he changed his name to Winston Groovy. The pair went on to produce hits such as "Island in the Sun", "Free the People", "Funky Chicken" and "Yellow Bird".
    Winston then joined Trojan records and began to associate with established artistes such as John Holt, Ken Booth, Bob&Marcia and Desmond Dekker. It was at Trojan that he recorded hits such as "So Easy" and "I'm Going Back". He later met with Eddy Grant and was given the opportunity to record on his label. This resulted in the production of one of his most famous compositions to date, "Please Don't Make Me Cry" which sold close to 60,000 copies. The Band UB40 later covered the song and it became an international hit.
    In 1985, Winston moved to Jive Records Label and there recorded a reggae version of the Commodores hit "Night Shift", which went on to become a monster hit all over Europe as the song reached #83 on the UK charts. This spawned another tour of Europe for Winston.Winston eventually set up his own label in 1990 called W.G. Records and he produced 4 albums of his own here.
    The association with UB40 did not end with "Please Don't Make Me Cry" as the band invited Winston to record with them in Birmingham. He was featured on the documentary "UB40-Story of Reggae" and was a guest on the band's 2000 Labour of Love 3 tour in London.
    While Winston has for the most part stepped away from the music industry, his soulful voice defies time in the 13 albums he managed to record during his time as an active performer.

    Monday 24 (27) February 1967
    INTERNATIONAL TIMES (page 13) a— sequence from ‘suddenly last supper’, Mark Boyle’s Queensgate event 1963. After a meal, the audience went into the empty studio where random films and burning slides were projected on to a variety of screens and surfaces, including this nude girl. During the piece, all the pictures, furniture and fittings were silently taken from the house. The performers left, and the audience eventually emerged unsuspecting into a dark empty flat. Mark Boyle & his family had moved.

    After the Edinburgh Happening in which Mark Boyle collaborated with Dewey, Marowitz and Charles Lewson, a girl was prosecuted for indecency, though, in his judgement aquitting her, the judge accused the press of blatant hypocracy. The festival of Happenings put on by Michael White in Victoria in 1964 was closed down after the first evening because of virulent and innacurate attacks in the Press.
    A series of events Boyle was invited to on at the Institute of Contemporary Art was cancelled after a first performance which began in darkness with Boyle shouting over a microphone that if the audience wanted an event they’d have to do it for themselves. Three spotlights came on lighting up various areas of activity. The audience moved in and went berserk; they worked projectors and tape recorders, performed on numerous plastic instruments, painted by numbers, smashed a piano, took scripts from actors, acted with them or directed the performance, danced with ballet dancers, edited films and projected them onto walls, cieling and people, directed a film of the proceedings, controlled the lighting, jumped on trampolines, prepared a press communique. They decided to build a new type of piano out of the pieces of the old. It began to be the centre of the event. It was smashed and resmashed, built and rebuilt as the piece developed a rhythm of it’s own and some hours later stopped suddenly with the gallery ankle deep in debris. The next ICA bulletin commented: "Owing to the overwhelming success of the first event, the rest of the series has been cancelled.”
    The Institute of Contemporary Archaeology (which Boyle had founded for the occasion) held its annual DIG in February, 1966 on a roped off section of a demolition site in Shepherds Bush which turned out to be the site of an ornamental garden statue factory where thirty or so diggers in three hours excavated hundreds of broken statues, moulds, tools and a magnificent stretch of early 20th Century concrete paving. A second party from the "Institute" worked on a site selected at random which turned out to be an allotment garden in Watford. A tattered scare-crow stands in the entrance to Boyle's flat in Shepherds Bush.
    For the two Son et Lumiere events he will present at the Cochrane Theatre next week. Mark Boyle will have a team he has been working with for some time. Peter Schmidt and Esmee Kirkland provide the Sound and Joan Hills, John Claxton, Cameron Hills and Boyle himself the lumiere. He won't say much about the presentation except that he hopes if anyone comes along they will find it as fascinating as he does.

    Friday 24 February 1967
    NEW MUSICAL EXPRESS (page 7) NME Top Thirty
    07-16-23. Hey Joe - Jimi Hendrix Experience last entry

    Friday 24 February 1967
    Cliffs Pavilion, Southend
    FEBRUARY 26th 6.15 & 8.30 pm
    SEATS: 18'6; 15'-; 7’6
    Presented by R.R. Promotions
    And introduced by Peter Murray
    famous TV disc jockey
    Nashville Teens, Koobas, Force Five,
    Open 10 am to 8 pm daily including Sunday

    Exterior Percy Gee building
    Main hall
    Winston “Groovy” Tucker (Ebonites)
    Last edited by stplsd; 03-31-16 at 12:31 PM.
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    Re: 1967-02-24 Leicester University, Leicester, Leicestershire, England

    This gig has almost no info and claimed witnesses give different venues. Noel's diary has Leicester University (which would most likely mean the Percy Gee centre, but a respondent to Lifelines says his father told him that he was not only at the gig, but he also 'did the lights' and it was at the Polytechnic. The Polytechnic itself only claims that 'it is said that' Jimi Hendrix played there. I found an earlier claim that has JHE playing at Granby Halls and that the concert was part of the University charity rag week. I countered this by upholding Noel's diary and the University itself which also claims Jimi played there. Responding to this another Lifelines respondent claims that he not only saw JHE at the Polytechnic, but that he also had a pre-gig drink with them in a bar across the road, "Leicester Polytechnic (not a university then)" he could have said 'not a polytechnic then' as well. The fact is that it was not a Polytechnic at this time but was 'Leicester Colleges [sic, plural] of Art and Technology' which had separate faculties under a single administration; ie students went to either 'Leicester College of Art', or 'Leicester College of Technology' at that time, not 'The Polytechnic'. It only became a Polytechnic in 1969.
    The poster does look very 1960's art college product though.
    It would be nice if someone could definitively clear up which venue JHE actually played?
    Last edited by stplsd; 09-27-16 at 01:00 PM.
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    Re: 1967-02-24 Leicester University, Leicester, Leicestershire, England

    The legendary Jimi Hendrix Experience and the day they played at DMU

    The phenomenal Jimi Hendrix Experience – whose incendiary live performances single-handedly changed the course of rock 'n' roll history - appeared at De Montfort University Leicester (DMU) 50 years ago today.

    The band – Jimi Hendrix, bassist Noel Redding and drummer Mitch Mitchell - appeared in Hawthorn Main Hall, which once stood in the middle of the Hawthorn Building, on Friday 24, February 1967, at a time when DMU was known as The Leicester Colleges of Art and Technology.

    According to archives sourced by Steve Chibnall, DMU’s Director of the Cinema and Television History (CATH) Research Centre, the Experience played a set lasting approximately one hour, and the price of admission was just six shillings – about £6 today. The band's debut release 'Hey Joe' was in the charts at the time.

    The Jimi Hendrix Experience was paid £75 (£1,500) for their performance and Noel Redding is said to have remembered it in future years as a ‘good gig’ but with ‘bad sound’.

    Another story from the night says the support band, The Ebonites, failed to turn up so members of a local Leicester group, called The Warlocks - who had bought tickets to see Hendrix play - were pressed into service instead.

    Hawthorn Hall’s entrance was through the Art Deco doors overlooking The Newarke and consisted of stalls and a balcony, with a total capacity of about 800. A lecture theatre now stands where the hall was.

    Nick Hairs, a former student at Wyggeston Boys School, Leicester, remembers:

    “It was called the Colleges of Art and Technology in those days. The poster just says ‘Main Hall’ on it, and Jimi is spelt with two ‘m’s: ‘Jimmi’.

    “I was working at the Bell Hotel during my catering college time, and I had to work as a waiter, and I had to work that night, and I finished about half past eight, I suppose.

    “My friend Pete Martin came with me to the gig, and he worked at the Belmont Hotel on New Walk. We met up at the Town Arms [pub on Pocklington’s Walk], and from the Town Arms we went to the Magazine [a pub on Newarke Street] and I had a whisky in each pub – I had been dumped by my girlfriend at the time and it was also my mum’s birthday.

    “I remember that Leicester played Forest the next day and I was pretty hung over and missed the match. But we got in to the Hawthorn Hall and Hendrix was already on and the over-riding song I remember was ‘Like a Rolling Stone’, because I’m a massive Bob Dylan fan. And to hear that song done like he was doing it was a revolution (sic). I can see it now. It wasn’t very packed, but he’d only just burst on the scene.’

    The Hendrix appearance topped an amazing five weeks for the students who were working on the Entertainments Committee of the time.

    LINK -

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