Torch56

First time I heard this was on Dave Evison's Radio Stoke show on a Sunday night, late eighties. Referred to as the Del-Larks at that time, Butch apparently insisted that Dave interrupt the track on occasion with comments such as, " Great record." to foil potential bootleggers.

Beware the Ides of March.

That sign was was an impressive, and sizeable, piece of street furniture. Removing it intact would have required tools, a ladder and some expertise, as well as a van to drive it away. Presumably, somebody organised all these things, and drove it to Wednesfield to deposit it in Max's shop. It can't have been some half baked, off the cuff operation involving dustbins or a length of rope on a Sunday morning. Unless somebody knows different...

Yes, John was my elder brother. Sadly, he passed away last October.

With regard to attempts to remove the Catacombs sign on the morning of July,14th, after the last night. The 'stacking up dustbins' story is referred to as a 'legend' by Agent Smith which suggests he probably agrees with your judgement. In contrast, I can verify the 6 am attempt by the lads with a rope 'cos I was there. As stated earlier their chances of success were minimal. My understanding is that the sign ended up in Max's shop in Wednesfield. In all probability it ended up in a skip when Max passed away, unless anybody knows otherwise?

Found out about this via Pep's Facebook page and listened to it yesterday. Over the course of four hours the history of the scene was charted from early stirrings circa 1967/8 through to, early Wigan, 1974. Pep talked about venues before the Catacombs around the west midlands and Colin did likewise in the potteries; parallel experiences but geographically different. The records played followed the chronology of the period so things like Darkest Days and Mr Bang Bang Man featured early on with each record being commented on as to where and when played, by whom, and dance-floor reaction. I know some are irritated by the who played what, where narrative but, personally, I find it fascinating and it helped trace the scene's development through its formative tears. Pep also made a point of informing us where he obtained records and connections with dealers and record suppliers from around the UK and the USA. Thus we were introduced to Martin Koppel, who we can thank for Bobby Treetop, and the mysterious Simon Sousan amongst others. The stories around individual records were the most interesting, how and where they were discovered and their connections to individuals and their impact. Here's a few standouts in no particular order: Kelly Brothers, Love Time: Max had copies of this and passed them on to several DJs, among them Alan Day who hammered it so much it almost became a second 'Slow Fizz' for him. I was never that keen on Love Time, but the Slow Fizz...Junction, Torch, Catacombs.. a big sound for 12 months or more. Otis Smith, Let Her Go: Bought blind on recommendation at the Torch and asked Keith Minshull to play it. Went on to go huge in the summer of '73 at the Catacombs.. Velours, I'm Gonna Change: Another massive sound from the same era. First introduced at the Cats on a Wednesday night if memory serves. Instant impact, no need to wait for this to take off after a few plays. Top sound for a long time as Pep had the only copy. When his record box was stolen this had been loaned out to be played at the Mecca that night and so escaped the fate of the rest of his top sounds. Jimmy McFarland, Lonely Lover: With the cream of his collection gone, Pep was forced to put together a playlist of lesser known sounds and this fell into that category. I don't recall it from that time, but it did go on to get plays at Wigan, apparently, and at Stafford in 1985, where I first heard it. One record that disappeared with the box was Wingate's Love-in Strings, Let's Have a Love-in, a brilliant Ric-tic instrumental. With that not available the less rare vocal version graced the decks for the next few weeks. There was lots more of interest to anybody who was there (and even if you weren't) with plenty of specific detail and informed commentary worth listening to. Recommended.

Clearly running a coach was not without its trials and tribulations, though they do make for fascinating reading now. That Gloucester/Cheltenham connection to the Catacombs was particularly marked in the post Torch, pre Wigan era when attendances soared. The stripping of the Catacombs for original memorabilia: did that extend to the iconic sign in Temple Street? I don't think so, see earlier pages on this thread. Unfortunately, Swoz passed away in December, 2021. RIP.

There probably were coaches to Blackpool Mecca from Wolverhampton, if not from the Catacombs itself. Maybe after the Cats closed? I'm unaware, but then I'd never heard of coaches to the Torch before I saw this advert. The Torch closed in March, 1973. The Catacombs closed in July, 1974.

Express and Star, September 22, 1972. This advert appeared one week after the grand reopening on September 17. Interesting for a number of reasons, chief of which was the reference to 'our coach' leaving for the Torch at 1.15 on the Saturday. Whilst I was aware of a coach leaving from outside the Catacombs for Wigan in its early days, I have no recollection of a similar arrangement for the Torch. I'm pretty sure the Wigan one was organised by Steve Smith from Gloucester, but the one referred to here seems to have been arranged via the club itself. Did anybody on here ever avail themselves of this service?

Express and Star, September 22, 1972.

Wombat: A Max play from the Catacombs, late summer 1973. It was very popular, though, personally, I couldn't stand it. To think he could have played the Tempos or Superlatives and instead this was filling the floor. Also, it seemed to go on forever, which compounded the frustration.

Well, yes, I'm sure I heard it. Whether I shared her misplaced optimism is another issue.

"Everything's gonna be alright" PP Arnold. Cannock Chase Hospital, today, January 3, 2023.

Express and Star, Saturday, 25/11/1972.

Stoke Market, last Friday morning. My love is your love, Isley Brothers.

Interesting story about Swoz and the dustbins. I'd not heard that before. The last time I saw that sign it was very firmly attached to the supporting wall and was resisting all attempts to be claimed as a souvenir That was circa 6a.m. on the 14th, when I vacated the premises for the final time. What happened when the nighter concluded, I do not know, but the sign apparently ended up in Max's shop in Wednesfield. Thereafter...?

I stand corrected. I'm now intrigued as to why I assumed it was a Bob Dylan song. There are references to Dylan and Joan Baez singing the song on the internet. The You Tube version attributed to Dylan is an instrumental version so did she sing the lyrics while he did the backing track? "Instrumental version" I hear you say. Don't get excited. It's no Exus Trek.

Interestingly enough, when Steve Whittle was a guest on Dave Evison's Radio Derby show, back in the eighties, he commented that declining attendances towards the end of the Wigan era was due, at least in part, to the inauguration of the oldies all-nighters on the first Fridays of the month. Attendances at the following Saturday's all-nighters subsequently declined and eventually attendances at all Saturday nights were affected as punters chose the oldies nights as their priority for attendance. Happy Feet's story suggests that trend had yet to take effect in 1976, though the fact that the subsequent night was an anniversary must have had a lot to do with it Apparently, oldies all-nighters started in July 1976 so the night in question would have been only the third one. Did these events take some time to become established as the go-to night for the majority of punters or was the demand for instant nostalgia evident even then?

Express and Star, Friday, December 13th, 1968. Clem Curtis and a seven piece band would have taken up a considerable amount of room. The stage at the Catacombs pre-1972 refurbishment was much smaller in area than its successor. Good job social distancing wasn't a consideration then. I suspect the two DJ's referred to here would have been Alan S and Farmer Carl.

I hadn't noticed that. Interestingly enough, whoever was the copywriter responsible for the Catacombs' publicity must have done so, because in two subsequent adverts in the paper the group's correct title was used. They still referred to Farmer Karl with a K, though.

Carl, pictured here with Jeff Astle, at Dudley Liberal Club, date unknown.

First official mention I can find of Farmer Carl as DJ, spelt here with a K. Carl would go on to be the regular DJ at the Catacombs, along with Alan S, having been recruited from the Chateau Impney in December 1968. Carl left the roster later in 1969. Clem Curtis was lead singer with the Foundations when they recorded, 'Baby, now that I found you.' and 'Back on my feet again.' Herbie Goins recorded, 'No 1 in your heart.' which I had assumed would have been played in the Catacombs' early days. However, Carl Dene tells me that was not the case. Copies going for around 200 pounds currently on Popsike. Herbie's group also made appearances at the Twisted Wheel around this time.

Catacombs attendees circa 1971/2 Top right, Dave Preece. Came from Cannock. I have a distinct memory of him hitting the dance floor with some gusto when Sally Sayin' Somethin' came on. He had a good ear for a sound; in the summer of 1973 he extolled the merits of Satisfy Me Baby when I happened to bump into him in the Mander Centre. Next to Dave, Pete Tilsley from Stockport. Black Ben Sherman with Twisted Wheel badge on the breast pocket, Skinners jeans; a serious devotee of the scene.