This page contains all the articles that were uploaded in October 2010, chronologically sorted, from old to new.
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There was a time when I would put in the latest Orb CD and murmur
blimey! Blimey because The
Orb pleasantly surprised me or blimey because Alex
'LX' Paterson and band utterly frustrated me. They had that effect
on me for years from their very first album Adventures
Beyond The Ultraworld (1991) until the quite underrated Cydonia
(2001). Often the wow! and meh! impression could be witnessed on the
same disk, most notably on Orbus
Terrarum that probably contains the freakiest ambient track ever
(the heavenly Oxbow Lakes) but also some of the worst.
The Millennium Orb
After 2001 Paterson continued to make albums under the Orb banner but
the wow! effect has largely disappeared. His most prolific output lays
on quite a few (from good to excellent) compilation and/or remix albums:
Dr. Alex Paterson's Voyage Into Paradise, Auntie Aubrey's Excursions
Beyond The Call Of Duty (containing an Orb remix
of Rick Wright's Runaway), Bless You (the best of the Badorb
label), Orbsessions I and II (outtakes), Back To Mine, The Art Of Chill
and last but not least The BBC Sessions.
Contrary to a stubborn belief the so-called ambient (and illegal) Pink
Floyd remix albums from the Nineties are not the work from The Orb, nor
from Alex Paterson. Neither will we ever know Pink Floyd's retaliation:
when the band worked on their 1994 The Divison Bell album they ended up
with so many left-over material that - in the words of Nick Mason - "we
considered releasing it as a second album, including a set we dubbed The
Big Spliff, the kind of ambient mood music that we were bemused to
find being adopted by bands like The Orb".
Update 2015 01 15: Parts of The Big Spliff may have appeared on
the latest Pink Floyd album: The Endless River. See our review: While
my guitar gently weeps...
Exactly one year ago Alex Paterson, who has always been a bit of a
I’ve just started work on an album with David Gilmore (sic)
from Pink Floyd which I think every Orb and Pink Floyd fan will want to
But that news was hurriedly demoted by David Gilmour.
Recent comments by ambient exponents The Orb's Alex Paterson that they
have been collaborating with David Gilmour are true – up to a point.
David has done some recording with The Orb and producer Youth, inspired
initially by the plight of Gary McKinnon. However, nothing is finalised,
and nothing has been confirmed with regards to any structure for the
recordings or firm details re: any release plans.
On the 17th of August of this year, however, the David Gilmour blog
had the following to reveal:
David is not working with The Orb on a new album, contrary to some
reports, but you may remember that he had been in the studio jamming
with Martin “Youth” Glover in recent months. (…) Alex Paterson was not
involved in the sole jamming session and the only plan initially was for
David to play guitar on that one track.
However, as it turns out and as you can see, the result of that jam
session has now been spread across the next Orb album, Metallic Spheres,
which will be released as ‘The Orb featuring David Gilmour’. So there
you have it. He was working on an album with The Orb. Sort of.
If I may read a bit between the lines I feel some friction here between
Sir David and this Orb thingy. But the next day, David Gilmour's
had the next comment:
David's 2009 jam session with ambient collective The Orb has grown into
an album, Metallic Spheres, to be released via Columbia/Sony Records in
October. David's contribution to the charity song Chicago, in aid of
Gary McKinnon, sparked the interest of producer Youth (Martin Glover),
who remixed the track and invited David to his studio for a recording
With additional contributions from Orb co-founder Alex
Paterson, the album took shape from 2009 into 2010, eventually becoming
Metallic Spheres, to be released by The Orb featuring David Gilmour. (underlined
Calling LX Paterson an Orb co-founder is technically not untrue, but it
feels a little weird when you have just been presenting Martin 'Youth'
Glover. It is comparable to describing Syd Barrett as a Pink Floyd
co-founder while discussing Bob
Klose. Agreed, Youth (from Killing
Joke fame) was probably around when The Orb saw the light of day but
it is generally acknowledged that the band was formed in 1988 by Alex
Paterson and Jimmy
Cauty but not by Youth who only occasionally teamed up with
Alex Paterson as a temporary aid. Cauty's primary project however, the Kopyright
Liberation Front (with Bill Drummond), pretty soon outgrew The Orb
and when - at a certain point in time - some Orb remixes were released
in Germany as KLF remixes this provoked a rupture in the co-operation
between the duo as Alex and Jimmy started fighting over… copyrights.
After the split between KLF and The Orb Martin 'Youth' Glover helped LX
out with two tracks (on two separate albums): Little Fluffy Clouds (on
'Adventures', 1991) and Majestic (on U.F.Orb, 1992), but he never was a
member of the band and certainly not a founding member. In 2007 however,
Youth replaced Thomas Fehlmann and joined The Orb for a one album
Update 2018: Youth can also be found on the 2018 'No Sounds Are
Out Of Bounds' and on a 2016 live CD and DVD release of the band.
Together with the announcement on David Gilmour's website, and then
we're back on the 18th of August of this year, a promotional video for
the Metallic Spheres album is uploaded to YouTube. Depicting only Youth
and David Gilmour several Orb fans wonder where LX Paterson, and thus
The Orb, fits in.
The first, original movie disappears after a couple of days for
so-called 'copyright' reasons and is rapidly replaced with a second
version (unfortunately taken down as well, now), containing some hastily
inserted images of LX Paterson strolling through the grasslands and
recording some outdoor musique concrète.
It feels, once again, as if the Floyd-Orb connection doesn't go down
well at the Gilmour camp. Alex Paterson's image, so it seems, has only
been included on the promo video after some pressure (from LX
himself) took place. But the above is of course all pure speculation and
not based upon any fact, so tells you Felix Atagong, who has been
closely following The Orb for over two decades.
Bit by bit we learn how the album came into place. It all started with
David Gilmour's charity project for Gary
McKinnon, an X-Files adhering half-wit who hacked into American
military and NASA computers in order to find out about extra-terrestrial
conspiracy theories (read some more about that on: Metallic
Spheres). Because of this he faces extradition from England to the
USA where apparently they take these kind of idiots very seriously, see
also the 43rd president who governed the country from 2001 to 2009.
It is not quite clear if Gilmour asked Youth (David Glover) to make a
remix of the Chicago charity tune or if Youth got hold of the
project and proposed to help (I've come across both explanations). The
two may know each other through Guy Pratt who played in Glover's band Brilliant
in 1986 (LX Paterson was their roadie for a while). In 1990 Youth
Pearl with Durga
McBroom who had toured with Pink Floyd for the previous three years.
Amongst the session musicians on their Naked album are Guy Pratt,
David Gilmour and Rick Wright.
This isn't Glover's only connection with the Floyd however. In 1995 he
teamed up with Killing Joke colleague Jaz
Coleman to arrange and produce a symphonic tribute album: Us and
Them: Symphonic Pink Floyd, but only The Old Tree With Winding
Roots Behind The Lake Of Dreams remix from Time combines a
modern beat with romantic classical music.
To spice up the Chicago remix Youth invited David Gilmour in his home
studio and out of it came a twenty minutes guitar jam. Glover soon found
out that he could expand the session into an ambient suite and asked old
chum LX Paterson for some help. LX flavoured the pieces with typical
Orbian drones and samples, rather than turning this into a sheepish Fireman-clone.
The Orb featuring David Gilmour can only be a win/win situation.
Orb fans have dreamed about this collaboration for the past two decades
and that will add to the sales figures for sure. And although artist
royalties go to the support of Gary McKinnon there will always be a
spillover effect for the artists involved. That can only be good news
for The Orb whose last album Baghdad Batteries sunk faster than
the Kursk in the Barents Sea.
Rest us to say that an Orb album is an Orb album when it has got the
name Orb on it, whether you like it or not. (In the case of their Okie
Dokie album, not a bit).
Spheres starts with Gilmour's pedal steel guitar over some keyboard
drones that makes me think of those good old days when the KLF shattered
the world with their ambient masterpiece Chill
Out (LX Paterson - as a matter of fact - contributed to that album,
although uncredited). But soon after that Gilmour's guitar wanders off
in his familiar guitar style with axiomatic nods to The Wall and The
Division Bell albums. A welcome intermezzo is Black Graham
with acoustic guitar, not from Gilmour but by ragtime busker Marcia
Mello. The 'metallic side' flows nicely throughout its 29
minutes and has fulfilled its promise of being 'the ambient event of the
year' quite accurately.
The CD is divided into two suites: a 'metallic side' and a 'spheres
side' (and each 'side' is subdivided in five - not always
discernable - parts). The second suite however, is more of the same,
clearly lacks inspiration and ends out of breath at the 20 minutes mark.
So no wow! effect here (but no meh! either)... Youth has done what was
expected from him and produced an all-in-all agreeable but quite
mainstream product leaving ardent anoraky Orb fans with their hunger,
but perhaps winning a few uninitiated souls.
As far as I am concerned this is about the best Orb CD I have heard for
the past couple of years, but it is still far from Orblivion, U.F.Orb or
Ultraworld. But as this is 2010 already you won't hear me complaining.
In true Orbian tradition this album exists in different versions. There
is the regular UK version (with a 'black' cover) and the deluxe version
(with a 'white' cover). That last one has a bonus CD in a 3D60 headphone
remix, comparable to the holophonics system on Pink Floyd's 'The
Final Cut' album from 1983.
Update 2018: Just like 'holophonics' in the eighties, 3D60 no
longer exists. The 'special' effects can only be heard through a
headphone, but don't expect anything spectacular.
A Japanese enhanced Blu-spec release has two additional bonus tracks and
two videos. One of these extra tracks (remixes, actually) could also be
downloaded from The Orb website and from iTunes. One of the videos has
been made by Stylorouge, who worked with Storm Thorgerson on
several Floydian projects.
Last but not least there is a Columbia promo version, containing a
unique identification number to trace unauthorised redistribution (see
above picture). To our, but probably not to Gilmour's, amusement this
promo-CD is titled The Orb Vs Dave Gilmour (instead of David).
According to at least one Orb fan this version has a different mix than
the official release.
A couple of months ago a new Syd Barrett compilation was announced and
EMI (Harvest) was proud to proclaim that Syd Barrett had joined the
league of Jimi
Hendrix or Marc
Bolan, meaning that the man has got more compilation albums written
on his name than genuine albums.
Let's make a quick sum, shall we? Barrett, who was the founder of the
mythical band Pink
Floyd, was overtly present on their first album The
Piper At The Gates Of Dawn. On the second album A
Saucerful Of Secrets he had already taken a sabbatical, and although
present on 3 tracks (out of 7) he only takes the vocal lead (and writing
credits) on the testamentary coda Jugband
There are at least 7 Pink Floyd compilations that have Barrett's
(sometimes unreleased) work on it and the last one Echoes
(2001) turned Syd Barrett into an overnight millionaire. The fortieth
anniversary edition of Piper (2007) has (in the deluxe edition)
an extra CD containing some alternative versions and the Pink Floyd's
early singles as well.
Barrett's solo output in the early seventies is limited to two albums, The
Madcap Laughs and Barrett,
and that is all there is, give or take 5 or 6 compilations. The count
depends whether one catalogues the Opel
(1988) record as a compilation of alternative takes and unreleased
material or as a real 'third' solo album.
The most recent compilation 'An
Introduction To Syd Barrett' boasts that this is the first time in
history that Barrett's Pink Floyd and solo tracks have been compiled on
one disk. This is true, but… so what?
On the other hand a quick glance at the list
of unreleased material shows that there are about a dozen Pink Floyd
studio tracks from their Syd Barrett era, but alas this compilation
still doesn't contain any of them.
So what could possibly be the added value of this album, one might ask?
Not its cover, that doesn't show Syd Barrett at all but that has been
created, as usual, by Storm
Thorgerson. Thorgerson, and more particularly his Hipgnosis
studio, made some landmark record sleeves in the Seventies and Eighties,
but he seems not able nowadays to sell his creations to influential
bands, unless you call the freaky weirdoes of The Mars Volta
influential of course. Thorgerson's contemporaneous work flirts a bit
too much with cheap kitsch and luckily there is still Pink Floyd Ltd
that keeps him away from the unemployment office. I'm quite fond of
Thorgerson's work and I do like the cover although most Syd Barrett fans
I frequent compare it with visual diarrhoea so I leave it to you to make
up your own mind.
As a Barrett anorak I am not interested in the regular songs on this
compilation - as a matter of fact I didn't even listen to those - but I
jumped immediately on top of the so-called enhanced tunes. The
compilation boasts that 4 tracks have been remixed and one track has
been 'upgraded' with additional bass from David Gilmour who also
supervised the mixes. (The following review has been largely influenced
comments on the NPF
forum and MOB's
comments on the A
Fleeting Glimpse forum.)
Dominoes: the new mix has been so subtly done that there is
hardly any difference. The vocals are more emphasized and the backwards
guitar sounds a trifle clearer. Some corrections may have been done,
because on the original versions several (drum) parts were out of
'synch'. These errors have miraculously disappeared on the 2010 mix.
Octopus: this track is 7 seconds longer, due to the fact that a
'false' start has been added at the beginning. The "isn't it
good to be lost in the woods" vocals have been clarified and brought
to the fore and it could even be that its first part has been taken from
an alternative take (also a few drumbeats have been added that weren't
there on the 1970 version). Overall the muddled sound of vocals and
guitars have been cleaned.
She Took a Long Cool Look: this track has always been
called She Took A Long Cold Look in the past, but the
title has now been changed. This is one of so called 'live' bits from
Barrett's first album. These included false starts, bad guitar playing,
unstable singing and Barrett generally loosing it… David Gilmour said he
included these demos in 1970 to reveal Barrett in all his fragility, but
later regretted his choice…
The 2010 version snips some of the unnecessary background sounds
(Barrett turning some papers) and the guitar breakdown in the middle of
the song is replaced by some strumming from another take. And - as with
all of these remixes - Barrett's voice sounds more crisp than before and
with less disturbing echo.
Matilda Mother (Pink Floyd): the 40 years anniversary edition of Piper
already had this alternative take but in a much shorter version. This
one takes 50 seconds longer and has benefited from a real mix. Probably
the 2010 version is a sound-collage of several outtakes.
Here I Go: this little dance hall tune has always been my
favourite Barrett track. For over 40 years I have wondered how this song
really ended and now the ditty lasts 5 seconds longer. Gilmour has done
a fine job by adding extra bass and after my second listen I already
felt that this was the way it should always have been. (There is also a
tiny rhythm correction - compared with the original version - at 01:46.)
Personally I find it a bad judgment from Gilmour & Co to keep the fade
out but the closing chord I had been waiting for can still be heard. And
I know it's starting to sound repetitive, but Barrett's vocals have been
upgraded as well and sound crispier than ever. You don't need to buy the
album to listen to this track as a promo video has been put on the web
as well: Here
I Go (official video).
Update December 2019: Peudent, over at Late
Night, had some fun remastering the 2010 version of Syd Barrett’s Here
I Go. This version has got no fadeout and the ending can now be
heard at full volume. URL: https://voca.ro/3O3YGCsdWT7
The few remixes on this compilation are subtle, have been done with
great care and love for the original material so that my initial anoraky
opinion of 'don't touch the originals' has now been switched over to
'why didn't they simply enhance all tracks'?
But the real revelation of the album can't be found on plastic. The CD
contains a key to download the mythical Rhamadan track from the official
Syd Barrett website and this is what the next chapter is all about.
I won't get into the old story, legend or myth, of Rhamadan as it is all
old news by now. The Holy Church of Iggy the Inuit wrote a bit about it
and Pontiacs and Rob Chapman in A
Very Irregular Head describes it as a 'conga-heavy jam session
lasting eighteen minutes and of little merit', although it is highly
doubtful that the biographer could get hold of the piece.
The only person, apart from some EMI alumni, who could listen to the
track in its full glory was David Parker, author of Random
Precision. In order to get EMI's permission he had to sign a 'scarily
draconian declaration', so scarily draconian that he even had to
delete a forum post wherein he had simply admitted it had been 'scarily
draconian'. The Holy Church of Iggy the Inuit sometimes threatens with
the Holy Igquisition but apparently that secret service is
peanuts compared to the EMI 'unlimited supply, there is no reason why'
David was the only author who could write, in detail, how the piece
sounded and as it is so damn accurate I see no point of trying to give
my own description.
Peter Bown announces Rhamadan take 1 over some bass and organ
noises. He pronounces the title Rarmardarn like a 1950's BBC
newsreader. The piece itself begins with the conga drums (probably Steve
Took from Tyrannosaurus Rex).
The bass comes in and immediately takes the lead role (whoever the bass
player is they are extremely proficient) with some very fast Stanley
Clarke style runs and slides in places. The vibes then begin to come in,
along with some disjointed organ chording (mostly on one chord). This
then continues for a couple of minutes with the bass leading over the
conga beat, vibes and organ chords. A piano then enters playing a loose
boogie rhythm, and someone starts playing some very staccato mellotron
notes as well. Things settle into a groove, and a second drummer joins
in, mainly on cymbals. After about 5 minutes Syd's guitar starts to
appear, playing muted chords to fill out the sound. The bass falls back
slightly, and the piano takes the lead, Syd's guitar feeding back
momentarily as he begins to play solo notes. (…)
The piece eventually starts to fizzle out with some mad staccato
mellotron, the ever present organ chord and a lot of bass improvisation
with a sprinkling of piano notes. Syd plays some open chord plucking and
everything gets rather free form with Syd letting his guitar build-up
feedback and then fades it out. (…)
Syd starts another riff but it begins to fade until the bass player
picks up on it, and everyone begins following along. Another crescendo
of feedback builds up as Syd picks out what sounds like the Close
Encounters three note theme (!). (…)
Things build up yet again, with everyone in random improvisation, then
everyone stops except the organ chord. The bassist begins a strident
riff, giving the vibes a chance to solo (with staccato mellotron
accompaniment). The bass rockets off into a hyper-drive riff, then
everything finally falls to bits, ending with our old friend the organ
chord drone, the mad mellotronist and a few bass notes.
We don't really know who are the players on Rhamadan, but Steve
Peregrin Took is a name that appears in almost all biographies.
Biographer Julian Palacios, however, seems to disagree now:
Talking to my friend GH today, he wrote: 'I don't think that Steve Took
is the conga player on these sessions. I knew Steve and discussed Syd
with him on a few occasions, he said that Syd had jammed with him round
at his flat and that he had recorded it, but there was never any mention
of going into a recording studio with Syd. My understanding was that
Steve didn't get pally with Syd until after his split from Marc (Bolan).
Back in 68 Tyrannosaurus Rex where gigging like crazy and still very
much a going concern.' (Taken from Late
Night Discussion Forum.)
Rhamadan isn't half as bad as everyone, who had never heard it, claimed
it to be. Especially when one remembers that the same biographers and
journalists tend to praise AMM, The Soft Machine or The Third Ear band
for their revolutionary musical approach. Rhamadan is of course a highly freakadelic
experiment, almost free-jazz in its approach, a genre Syd Barrett was
not unfamiliar with.
If you have bought the CD, Rhamadan can be downloaded (legally) from the
official Syd Barrett website, but unfortunately only in the MP3 format
with a rather cheapish 152kbs bitrate. But its bitrate is not the only
amateurish characteristic. While millions of people all over the world
have discovered MP3 tags, EMI is of the opinion that this invention is
way over their heads. The tags are all empty and reveal that the track
is untitled (Track 1), comes from an unknown album,
is from an unknown artist and from an unknown year. Not
even the Publisher and Copyright data are filled in. My 8-years old
godchild can rip MP3 tunes better than EMI does, she at least knows how
to attach a (sleeve) picture to the file. (Although I worked this out by
myself, Jen D at madcapslaughing
beat me by a day by publishing the same findings before me. As I haven't
got an irregular head I'll give this bloke the credits.)
While EMI has been nagging us for years that copying is killing music
a closer look on the MP3 tags reveals us that the file has been
converted with FreeRIP.
Here is the biggest music company in the world and it uses a freeware
version of a (quite good, I agree) MP3 converter to spread around a
track belonging to the founder of their second most commercially
successful band, next to The Beatles.
I know of the bad financial situation of the music company but I wasn't
aware that EMI was that close to bankrupt that they can't even afford a
29,75 dollar software program anymore.
None really. The best thing is to decide for yourself if the 5 remixes
and the 1 download are sufficient to buy the album. As a Barrett anorak
myself, I simply had no choice.
Sources: (other than internet links mentioned above) Chapman,
Rob: A Very Irregular Head, Faber and Faber, London, 2010, p. 215. Parker,
David: Random Precision, Cherry Red Books, London, 2001, p.
When George Melly visited
The Cromwellian club in 1965 he found quite a few wrestlers at the bar,
what was no coincidence as the club was owned by four of them.
Paul Lincoln, arrived in the mid-fifties from Sydney and single-handedly
build a British wrestling emporium and that without the aid of
television. As Dr Death he was the most famous masked heavyweight
wrestler of the early sixties and numerous (masked but untalented)
copycats wrestled under the same name trying to cash in on his success.
Here was a man who could use blindside skulduggery and torment his
opponents with punishing nerve holds to bring the fans to a frenzy.
In 1962 Paul Lincoln, as wrestling promoter, arranged a legendary fight 'to
the finish' between the villainous Dr Death (in other words:
himself) and another masked 'identity unknown' wrestler nicknamed The
White Angel. Three thousand fans witnessed how the Doctor beat the
Angel and the losing party was obliged to shamefully reveal his identity.
At the end of the contest, a no rounds fight to the finish which had
ended by a knock-out, the defeated wrestler shook hands with the victor
and dramatically removed his mask. The White Angel was Judo Al Hayes, a
successful heavyweight who had recently left the Joint Promotions camp
to work for Paul Lincoln and other independent promoters. (Source: Wrestling
Heritage, password protected members area.)
But Paul Lincoln not only staged wrestling matches, his name is also
linked to the British rock scene. In April of 1956 he and
Hunter (who apparently had a fling with Sophia
Loren) took over premises at 59 Old Compton Street, London and
baptised it the 2I's
The bar started the career of many young rockers. Skiffle band The
Vipers more or less debuted at the club (on the 14th of July 1956)
and would gradually grow into The
Shadows (via The Drifters).
We went inside for a coffee and asked Paul Lincoln (…) if we could do a
bit of busking. (…) We started playing, and suddenly the place had come
to life. it seemed to work well and Paul asked us to make it a regular
stopover. Within a short time the place was jumping; in a few months
they were queuing around the block.
Paul Lincoln's entrepreneurial skills were not limited to the 2'I's
coffee bar alone, he also opened an Italian restaurant in Soho and
together with Ray Hunter, Bob
Anthony (for his looks baptised the wrestling Beatle) and Al
'The White Angel' Hayes
he purchased The Cromwellian. A fifth partner - who was sold out by the
wrestlers a couple of years later - was Tony Mitchell, rumoured to have
underworld connections, and the owner of The
Blue Shark club at Bridgend.
Update Januari 2011: Paul Lincoln, the man who was the Doctor
Death, passed away on Tuesday 11th January 2011: RIP
Paul Lincoln. Update April 2011: In an exclusive interview
for the Church, Bob 'Anthony' Archer has told the Church that Paul
Lincoln's Italian restaurant 'Trattoria del buon vivitore' was
just a couple of blocks away from the 2I's coffee bar. It was located at
36 Old Compton Street, the first floor had the Paul Lincoln Management
offices (see advertisement above): The
The Cromwellian was not only a bar and restaurant but also a casino.
Initially the tables had been at ground-floor but in the autumn of 1965
table was badly damaged by a Molotov cocktail thrown through the window,
probably by racketeers or by slightly covetous competitors. The owners
quickly decided to move the casino to a higher floor and to barricade
the building with iron security grades.
Randy Steed, who was a croupier at The Crom, has written down some of
his memories in The
Private Gambling Clubs of 1960s London. It is an enjoyable piece to
read, filled with funny anecdotes, but in this article we will off
course only cite Crom related parts.
The Cromwellian had only five tables, but possessed a faded, hip
elegance which attracted the show business and rock star elite of those
times; on any given night you’d be dealing across the tables to the
likes’ of Brian Epstein; the Beatles first manager, and numerous other
luminaries of the exploding sixties, music scene.
Stars such as Tom Jones, Lulu, and Eric Burden of the Animals, and
Jonathan King were regulars and could be found hanging out downstairs
most nights, in the restaurant-disco where the Long John Baldry Band,
featuring Reginald Dwight aka Elton John on keyboards held sway.
NME, in its Cromwellian pic-visit,
wrote that 'there was a night that Omar Sharif lost £400 on the tables
and the other occasion when Lee Marvin after being down £400 left the
club by £2000'. Randy Steed, as a young croupier, also happened to be
One memorable night the American film actor, Lee Marvin wandered, more
like staggered into the club (…) and started playing Pontoon. (…) Mr.
Marvin kept writing checks on his Beverly Hills Bank till he finally
wised-up and unsteadily navigated his way to the poker game. (…)
This particular game attracted many of London’s better behaved villains
who were quite happy to have this inebriated American actor sit down at
their table. As fate would have it Marvin nailed a full house on this
first and only hand to out-draw the rest of the table. He gave it a
brief moment’s thought and gathered his winning chips into his arms (yes
his arms, these were French style 'jettons’ which were rather slippery
and unwieldy) and calmly but wobbly made his way to the cashier’s cage.
There was dead silence in the room as the faces’ at the poker table
stared in amazed disbelief at their easy-money walking away…not a word
was said, just stunned silence.
Carmen from Fame
Another memorable night at The Crom was held on the 8th of January 1967
when Carmen Jimenez turned 21. Now who was Carmen Jimenez and why did
most of The Beatles and Brian Epstein (dressed as a clown) turned up at
Not a lot can be said about Carmen Jimenez. The only interview she gave
(to James Dawn) appeared in NME 1054 of 8 April 1967. Titled: Glamour?
I’m the Target for All the Lies and Digs, Carmen Jimenez
disclosed (reluctantly) what it was like to be Georgie Fame’s fiancée,
but unfortunately the interview can't be located on the web.
We do know for sure that Georgie
Fame threw her a fancy dress birthday party in January 1967. Several
pictures were taken on that night and these can be found dispersed all
over the net, but a good place to start is the Georgie Fame (unofficial) website
Images. These show Georgie Fame with a priest (John Lennon), a US
soldier (Paul McCartney) and an Arab Sheik (Ringo Starr).
however has taken the immediate interest of the Holy Church of Iggy the
Inuit. It depicts John Lennon, but standing behind him could be a
vaguely familiar figure (see left side image). In the only interview
she has ever given Ig (Evelyn) has told that she met The Beatles and the
Fame-Jimenez party could have been an excellent opportunity. Update
2011.02.19: Iggy has confirmed that it is indeed her on the picture:
"Yes, this is a picture of me." The Church will look further into the
Rod the Mod
Another famous person Ig has met was Rod Stewart. Interestingly it was
at the same Cromwellian club in February 1967 that Jeff Beck, who had
just been kicked out of The Yardbirds, recruited Rod Stewart for his new
band the Jeff Beck Group (featuring Ron Wood). Douglas
J. Noble asked Jeff Beck in 1993:
DJN: Is it true that you met Rod Stewart when he was watching
Peter Green in a pub?
JB: Yeah - no, it was in the Cromwellian club which is now gone,
I think, opposite the Exhibition Road. That was our hangout - our
watering hole. And this particular day or evening, rather, he was
somewhat worse for wear through drink and I just thought there's the guy
- the one guy - I would like to play with. Have him sing in my band. And
I was pretty down as well - totally out of the Yardbirds, nothing going,
no money. I hadn't got anything to lose so I asked him if he would be
interested and he said, 'Yup!' Amazing! Next day we met up and the rest
is, uhh, on record [laughs].
Sources (other than the above internet links): Bacon, Tony: London
Live, Balafon Books, London, 1999, p. 8. ♥ Iggy ♥ (2011 02 19). Platt,
John: London’s Rock Routes, Fourth Estate, London, 1985,
p.10-12. Many thanks to the Wrestling
Heritage website. Grazie mille Gianna!