Meanwhile… On Denmark Street

Flitcroft Street is the short street at the east end of Denmark Street. You might know it from its most famous building – the one with the huge door (theatre backdrops were painted here – hence the big door to get them out on to the street).

Flitcroft Street used to be known as Little Denmark Street. Readers of my book, Denmark Street: London’s Street Of Sound, might recall it was the location of Billie’s, a legendary London gay club populated by musicians in the 1930s that was the subject of a homophobic police raid.

Flitcroft Street is now home to Meanwhile, a gallery run by the Farsight Collective. Walk down Denmark Street, turn right and it’s right there. The Farsight Collective have huge plans for this site. The gallery will be on the ground floor. A couple of floors below, almost directly below Regent Sounds at No 4, that will be a cabaret bar – modeled partly on Billie’s. In the floor between there is space for a live music venue that will hold around 300 people. The Farsight Collective have considerable experience running both clubs and galleries in London so they know their stuff.

This is, in my view, the most exciting thing to happen in the West End for decades. It has the potential of confirming Denmark Street as an essential location for live music, particularly if it encourages the Lower Third (once the 12 Bar) and Here to up their game. Other new arrivals for the street – as yet unconfirmed – will add to this experience by filling in other gaps that are currently lacking in the street’s offering.

Meanwhile is open weekdays 12-6pm. It is currently hosting an exhibition that celebrates the musical history of Denmark Street and Soho. This includes photographs of great London nightspots from the past, covering everything from jazz to Trash. There’s a video timeline showing London clubs from 1900 to today – apparently there were more nightspots open in Soho during the Blitz than there are today – and some drawings of famous Denmark Street locations including Lawrence Wright House at No 19, Bowie and Bolan at La Gioconda and The Sex Pistols outside their outhouse at No 6.

There is also a short history of every building on Denmark Street using text taken from Denmark Street: London’s Street of Sound.

Other displays discuss the plans for the location and how you can support their license application.

Highly recommended.

Meanwhile, Flitcroft Street, weekdays 12pm-6pm.

POSTPONED Denmark Street at Regent Sounds – free talk

No 4 Denmark Street could be the most important single address on Tin Pan Alley. It’s housed Regent Sound, the studio where the Rolling Stones recorded their debut album, the Helter Skelter bookshop that specialised in books about music, and is now home to Regent Sounds, London’s best guitar shop. Other residents include Johnny Dankworth and Essex Music, publishers of the Rolling Stones among others. There might even be a connection to the Krays.

I will be giving a talk about the general history of Denmark Street amid the Fenders at No 4 on Friday December 15 at 7.30pm, and then signing copies of the second edition of Denmark Street: London’s Street Sound. Crispin Weir, who owns Regent Sounds, will be talking about the history of No 4 in particular, having done extensive research into the building over the years. It should be a great event for anybody who loves music, books, history and guitars. Hope to see you there.

Denmark Street talk – at No 4 Denmark Street, WC1, on Dec 15, 7.30pm.

Events – drugs, clubs and Denmark Street

I have three events coming up in the next four weeks.

On Monday October 23, I will be talking to counterculture guru Carl Williams about the LSD Library. This is a free event organised by TANK magazine at their base on Great Portland Street but tickets must be booked. The LSD Library was the incredible collection put together by Julio Santo Domingo that contained thousands of books and items related to drugs, sex, magic, alternative politics and rock n roll. It is the subject of my book, Altered States.

Book your place here.

On Thursday November 23, I will be at the Horse Hospital to talk about music in London for the London Salon. I will talk about some of London’s lost venues, focusing on those around Soho and Covent Garden within walking distance of Denmark Street.

Get a ticket here.

On Thursday November 30, I will be at Battersea Bookshop at Battersea Power Station to talk about Denmark Street. Tickets aren’t available for that yet, but should be soon.

Hope to see some of you at any or all of these.

Londonist interview – Denmark Street

I’ve been doing a bit of publicity about Denmark Street: London’s Street Of Sound.

Here’s an interview I did with Matt Brown at Londonist that I think gives a good overview of the topics covered in the book. If you’ve bought, read and enjoyed the book, please do consider leaving a review on Amazon as it makes a big difference.

10 things to come out of Denmark Street

My new book, Denmark Street: London’s Street Of Sound, is out now. But why is Denmark Street so interesting anyway? Here are ten (mostly) music-related things that emerged from Denmark Street since the 1910s.

1 The charts

The first UK singles chart was compiled in 1952 by the NME from their office on Denmark Street. It’s arguably the single greatest innovation to come from the street’s long association with music.

2 The Rolling Stones

The Rolling Stones’ debut album was recorded at a pokey little Denmark Street studio, Regent Sound, in 1964.

3 Northern Songs

The Beatles’ publishing company was formed in 1963 at the office of music publisher Dick James, on the corner of Denmark Street and Charing Cross Road. It was a then revolutionary deal, which recognised that the Beatles were both performers and songwriters.

4 “South Of The Border”

Perhaps the best of the pre-rock ‘n’ roll songs published on Tin Pan Alley, “South Of The Border” was the work of Jimmy Kennedy and Michael Carr, two prolific pre-war Denmark Street songwriters.

5 Dark Side Of The Moon

One of the world’s best known album covers was conceived by designers Hipgnosis at No 6 Denmark Street.

6 Forbidden Planet

Denmark Street wasn’t just about music – the nerd emporium began life on Denmark Street, ensuring the street was briefly a mecca for comic lovers as well as music fans.

7 Live At The 12 Bar

Bert Jansch was one of many great musicians to perform at the tiny 12 Bar – this 1996 concert was officially released in 2015.

8 Cerberus

Cerberus was a pioneering internet-streaming music site that was located at No 21 Denmark Street in 1994 – years ahead of its time.

9 Theme to “News At Ten

One of many famous theme tunes to emerge from the studio on Denmark Street owned by KPM – home to one of the largest music libraries in the world.

10 Spunk

The Sex Pistols had a rehearsal space at No 6 Denmark Street, where they recorded several songs that appeared on this legendary bootleg.

For more, see my new book Denmark Street: London’s Street of Sound (Paradise Road).

Denmark Street: London’s Street Of Sound

My new book, Denmark Street: London’s Street Of Sound, is now available for pre-order with publisher Paradise Road – link here. It will be available from the week of September 11.

There is surely no other street in London that can pack so much history into such a small area. There are numerous significant buildings in London – the British Library say, or Abbey Road – but there’s nowhere quite like Denmark Street, which connects musicians such as The Beatles, Rolling Stones, Lionel Bart, Joe Meek, Gracie Fields, The Kinks, The Sex Pistols, Pink Floyd, Bananarama, Elton John, Jimi Hendrix, Jimmy Page, David Bowie and Jeff Buckley in so many different ways.

Some recorded here, some performed, some lived, some worked in office jobs, some scavenged for session work, some bought or sold instruments – and many were ripped off by the managers and booking agents that occupied the offices of Denmark Street before they were told into shops that sold guitars.

I trace the story of this street from the moment the first music publisher arrived on Denmark Street before the First World War, and follow the way it has changed and developed alongside the needs of the music industry itself, right up to the present day. The text is enlivened by Rob Telford’s amazing photographs.

I hope you like it.

The magic, mayhem and mystery of Ziggy’s last show

I have a piece in the latest edition of Uncut about the final Ziggy Stardust show at Hammersmith Odeon in July 1973. It’s an oral history, for which I spoke to fans who attended the show as well as the two surviving Spiders, engineer Ken Scott and singer Dana Gillespie. The fans include a largely unimpressed Vic Godard, later to form Subway Sect, an eight-year-old boy from Devon who was smuggled in by his wild-sounding babysitter, a West London tearaway who broke in with his pals through a fire escape, and a teenager from Surrey who is captured on film, open mouthed in shock, after Bowie makes his bombshell “retirement” speech before the final number. “I cried for the rest of the show,” she admitted. “I cried all the way home.”

It was an awful lot of fun chatting to fans about their memories of this momentous show. It was also interesting to speak to Woody Woodmansey and Mike Garson about their very different feelings about the show, Woody having effectively been sacked on stage without knowing anything about it, something Garson clearly has a form of survivors guilt about. Woody never played with Bowie again but he told me they did manage to clear the air later in the decade, and stayed on good terms thereafter.

I also spoke to Lee Grant, a Bowie fan trying to solve a photographic mystery from the evening of the show. That section of the article didn’t make the final cut, so I am including it here.

The after-show party at Café Royale became known as Bowie’s Last Supper and featured a panoply of celebrities, several of whom posed for a famous photograph. This group shot features Mick Ronson, Lulu, Jeff Beck and his girlfriend Celia Hammond, Ringo and Maureen Starr, Edgar Broughton, Bianca Jagger, David Bowie and Angie, plus another individual who has never been identified.

Bowie fan Lee Grant created his Bowie Mystery Guest blog to solve the mystery and has so far discounted Tim Buckley, Elliott Gould, Cat Stephens, Ossie Clark and Bowie’s friend Geoff MacCormack plus several others. He first heard about the mystery guest from a Bowie podcast. “I thought I could solve the problem in about ten minutes and here we are five years later,” he says. “What I tried to do was eliminate some of the main suspects and wait for somebody to come forward.  It’s as simple and pointless that.”

Grant has contacted numerous members of the Bowie circle in his bid to solve the problem – many of whom suggest names he has already been able to eliminate such as MacCormack and Buckley. Having discounted most of the proposed names, Grant’s current theory is that the mystery man is a non-celebrity who happened to be at the Cafe Royale was invited to join the group shot because he was mistaken for MacCormack, who he certainly resembles. That makes identifying him all the harder but not impossible – perhaps with the help of other photographs from the evening which might show who the mystery figure was with.

“I’d love to find out who he was, why he was there and then get on with my life,” he says. “It’s in the back of my head all the time.” If you happen to know the answer, please put Lee out of his misery and let him know at https://bowiesmysteryguest.com.

Heroes and villains

When I started working at Time Out in 1998, I was young but by no means a greenhorn having already done five years at the Sunday Times, where I encountered formidable figures such as Hugh McIlvenny, Steve Jones, Nick Pitt and Chris Lightbown, my own personal mentor. But the journalists at a Time Out where a different breed. They were all very smart, incredibly knowledgeable about their particular field and not shy of letting you know it.

One of the most prominent was Paul Burston, whose desk was just across the aisle from the sports section where I first worked as holiday cover for editor Andrew Shields. For a start, Paul was physically striking. Not quite a gym bunny but certainly more muscular and compact than any of the other scrawny hacks at Time Out who looked as if they barely saw daylight and subsisted entirely on a diet of cigarettes and cheap spirits. Paul spoke in a loud voice with a soft Welsh accent. He would get to his desk some time before midday, and immediately start fielding a seemingly endless torrent of phone calls, exchanging gossip, rumours, ideas and anecdotes with a string of friends.

These conversations were peppered with language that I’d never previously heard outside the playground – queer, dyke, poof. I didn’t know where to look. I soon worked out that Paul edited the Gay section and had been at Time Out for a while, forging a relationship as a journalist who was outspoken against homophobia and fought for gay rights but could be very critical of gay politics and lifestyle if he felt it necessary. I’d never really encountered such an outspoken and confident out gay man before – there were very few gay journalist at the Sunday Times and none, openly at least, in the sports department – nor was I particularly familiar with the gay world of London, despite having gone to Popstarz a few times.

One of my strongest memories of Paul was his sheer fury on the evening of the Admiral Duncan bombing, as he took phone calls about the unfolding horror before going into Soho to see what was going on.

We remained colleagues until I left Time Out in 2010, but I only really got an inkling of Paul’s background when I read an account of his life as an AIDS campaigner that he wrote in Time Out‘s 40th anniversary book, London Calling, in 2008. Now Paul has brought out a memoir – We Can Be Heroes – which covers his life in more detail, which includes striking reminiscences of gay life in London in the 1980s, partying hard while campaigning under the constant shade of AIDS and homophobia. It’s a great book that I recommend heartily for anybody interested in London subcultures and activist politics.

As I read We Can Be Heroes, I realised that while Paul was experiencing the trauma of seeing his friends die of AIDS I was still at secondary school laughing at jokes about the disease. On Facebook, my school’s old boy page was recently hijacked by a number of men recounting the frankly horrific physical abuse they endured at the hands of staff, including pupils from my own time at school who were caned, slapped, strangled and thrown against walls by out-of-control teachers.

I was never physically attacked by teachers but verbal abuse was common. Chief among this was homophobia. There was not a single out gay boy in our school of 800 – because how could any child admit to being gay during the era of Clause 28, when rugby teachers would call anybody who disliked physical violence “a Mary-Anne” and RE teachers told us that homosexuals would go to hell. As a result, in the playground gay insults were the major currency – poof, queer, bum bandit, bender and jokes about AIDS. It’s hard to imagine how this could have been endured by any of the gay boys in the school.

It came as a little surprise when my old school was drawn into controversy recently when the current school chaplain – a man who I realised had been in the same year as me at school and therefore exposed to the same environment of endless, normalised and officially sanctioned homophobia – was accused of banning a gay author from giving a talk to pupils. As Paul’s book shows, we’ve come an awful long way, but there’s still a long way to go.

Among The Foetuses

Last week I was able to visit the reopened Hunterian Museum at the Royal College Of Surgeons on Lincoln’s Inn Field. This is an anatomical, pathology and natural history collection originally started by 18th-century Scottish surgeon John Hunter, who acquired thousands of specimens – human and animal – in his desire to understand the natural world. Here is one of my favourites, a cute little foetus of a sloth.

A sloth foetus

I wrote about the collection and Hunter’s motivations for Apollo and you can read that article here.

It’s easy to cast the Hunterian as a sort of sophisticated freak show – a place where you can see diseased organs, strange animals, skeletons and a large number of dead babies. And to a certain extent – or at least to modern eyes – that is exactly what it is. But it’s important to understand the collection in the context of the time, before X-rays, aspirins, anaesthetic and all the other miracles of modern medicine that we take entirely for granted.

Hunter collected because he wanted to understand and he wanted to understand because he wanted to improve. His curiosity and motivation (and his approach to ethics) is very similar to that of John Soane, whose own vast jumble of artistic and architectural wonders can be viewed on the other side of Lincoln’s Inn Field.

Take just a moment to think about that. Here are the two cultures – art and science – in the form of two collections amassed by obsessed and committed individuals, facing each other across a large garden square in a pair of incredible free museums, either of which would be the envy of most national or city collections. London is by no means perfect, but – much like the scientific improvements that Hunter’s inquisitive mind helped propagate – such marvels should never be overlooked or underestimated.

Andy Rourke RIP

Like many people, I have a difficult relationship with The Smiths. They were my favourite band for the most formative years of my life, but they also have the most problematic frontman, one in whom I – like many teenagers – invested so much of myself that his increasingly unpleasant behaviour seemed much like a personal betrayal.

But the death of Andy Rourke has me reaching once more for the comfort of familiar friends. When I think of Andy Rourke, I immediately think of two things: Meat Is Murder and this picture, which I always loved for some reason, partly because it reverses the way we usually see the band – but also because Rourke looks so fucking cool.

Rourke’s brilliant bass playing is all over Meat Is Murder. One of my best friends, a bass player, says he used to argue with me that on songs like “This Charming Man” Rourke was as essential to the Smiths’ sound as Johnny Marr – but as a non-musician who worshipped Morrissey, I often struggled to hear what was actually going on with the music: it just existed. It simply was. But even I couldn’t miss the bass on Meat Is Murder. It’s a prominent feature, holding together and driving forward just about every track from “The Headmaster Ritual” onwards but most memorable of all on the fantastic strut of “Barbarism Begins At Home”.

This may even have been the first time I became conscious of what a bass guitar actually sounded like.

I fancy that I am not alone.

RIP Andy and thanks.