My Top 10 Joe Meek Productions

1. PAUL AND RITCHIE AND THE CRYING SHAMES-"Come On Back" Decca F12483 1966

This was the final of three singles by this Liverpool band (all produced by Meek).  It was also among his last productions before his death in February 1967 and is easily his most "psychedelic".  It's haunting combo organ and distorted bass with swatches of slashing guitar with heavy vibrato bleeding through is hands down the most trippy thing Joe Meek ever did while the song itself has elements of U.S. 60's "garage" to it.  Meek's productions all but ignored psychedelia and he tended to utilize the same tricks he'd been using since the early 60's on all of his records right up until the end but this one seems a bit more "contemporary" than the rest, whether that was intentional or not remains to be seen. 

https://youtu.be/DE63II3Nef0?si=0qtUGltabRJpVz4k

2. THE BUZZ-"You're Holding Me Down" Columbia DB 7887 1966

Not to be confused with David Bowie's backing band from the same time (something bootleggers and errant journalists frequently resorted to confusing) these guys were actually Scottish.  The first time I heard this track was in the late 80's on a bootleg LP comp called "Searching in The Wilderness", shortly after it appeared in far better quality AND in it's correct length on Bam Caruso's "Freakbeat Fantoms" LP (the version used on "Searching..." was the American single mix which is shorter).  The whole track is a cacophony of fuzz guitar (that is total freakbeat) and the depraved sounding vocals with typical Meek compression on the whole thing just jacks up the freaky aspect!  It all resembles a paranoid speed freak meltdown ala John's Children's "Smashed Blocked" or the Small Face's "E Too D", something Meek was all too well aware of.

https://youtu.be/TmneIzd4hjs?si=jHJF1S0914bVOmIk

3. HEINZ-"I Get Up In The Morning" Decca EP DFE 8545 1963

Taken from his untitled first E.P. this rockin' little number is my favorite track by the blonde bomber. The funky little guitar licks come care of a young Ritchie Blackmore (acknowledged by Heinz not once but twice in the track before a solo..."Take it Ritchie") and though I'd swear the female backing vocals are Glenda Collins the E.P. sleeve states they are by The Fletchers (who were also known as The Cameos). It's easily his strongest release in my estimation and has a relatively clean (ie "not weird") production!

https://youtu.be/46jWNYTXIKw?si=iM7jh16AeSteXEVN

4. THE RIOT SQUAD-"I Take It That We're Through" Pye 7N.17092 1966

This was the band's second of four singles recorded at 304 Holloway Road (their fourth and final single was Meek's last release causing a friend to quip "it was so late it practically had Meek's brains on the master tape reel") and it's my favorite.  It combines some wild sonic reduction on a fuzzed out guitar lick while the compression on the saxophone bends the sound so it resembles some sort of Middle Eastern reed instrument while the band's high pitched backing vocals are given the Meek touch. But that fuzz bass intro.....wow, just wow, it's a total window rattler. 

https://youtu.be/1eOq-ODej_w?si=TAunZFS4lRMxReI4

5. THE HONEYCOMBS-"That Lovin' Feeling" Pye 7N.17173 1966

The Honeycombs final single marked the end of a career with Meek that yielded ten singles, an EP and two LP's under his tutelage in just two brief years. My old pal Keith Patterson once aptly described it as "The Honeycombs outdoing The Episode Six" which is a true assertion as the numbers harmony male/female vocal style is akin to to that of The Episode Six's records for the same label at this time.  Starting out with a part raga/ part Flamenco guitar lick it has a slight Middle Eastern feel and is carried by Honey Lantree's backing vocals (that sound like the mike was down the hall from her!) and the compressed combo organ and a typical echo drenched guitar solo add to the amazing blend. 

https://youtu.be/15jU_UOQ95Q?si=-fW5i2PBvWH4SaSO

6. THE TORNADOS-"Too Much In Love To Hear" Columbia DB 7856 1966

By the time the band switched to Columbia from Decca they were the Tornados in name only , with another Meek band The Saxons, assuming the role of the "new" Tornados. "Too Much In Love To Hear" was penned by it's members Pete Holder and Robb Huxley (credited here as "Gale", a misspelling of his "other" last name Gayle) . It's a rarity among Tornados 45's as it's a vocal number.  Led by some tack piano with the typical Meek production flourishes it's a moody piece , sort of a beat ballad with a nice jazzy/Shadows style guitar solo and a welcome pleasure to hear vocals on a Tornados record!! Interestingly Huxley later moved to Israel where he joined The Churchills who cut a trippy (and far improved in my book) version of the track which was comped on one of the "Strange Things Are Happening" CD comps.  For a more detailed history of the "New Tornados" check out Robb Huxley's extensive and highly informative web page here. The band would cut just one more 45 with Joe Meek, but that, as they say, is another story for another time. You can read that story here.

https://youtu.be/y8_yrX0CNhs?si=FyqcTWUxSL24TpMy

7. GLENDA COLLINS-"Something I've Got To Tell You" Pye 7N.17044 1966

Joe Meek had very few female vocalists on his roster but none was better or as well known as the dynamic Glenda Collins. The track, the ultimate musical confession of infidelity, was written by Ken Howard and Alan Blaikley (frequently misidentified as "Howard Blaikley" like this label) and had previously been recorded by The Honeycombs on their second LP "All Systems Go" where it showcased for the first time, drummer Honey Lantree on lead vocals (it also cropped up on Dave Dee, Dozy, Beaky, Mick and Tich's debut LP).  I think Glenda's February 1966 version is the definitive one in my book thanks to the top shelf presentation.  Meek took no chances and secured the services of arranger Ivor Raymonde to wrap it up in strings and massive orchestration, but in the end sadly it was not a hit despite the stellar arrangement and Collin's powerful vocals .

https://youtu.be/DeUu4lLitpY?si=KdCKqyIIbU2ig5Ac

8. JASON EDDY & THE CENTERMEN-"Singin' The Blues" Parlophone R 5473 1966

My introduction to the weirdness of Joe Meek came in 1982 with the inclusion of this cut on Greg Shaw's legendary LP compilation "Pebbles Volume Six: The Roots Of Mod". Jason Eddy (real name Albie Wycherley and previously "Jason Eddie") was the brother of Ronald, better known as Billy Fury. Jason's O.T.T. cover of the Marty Robbin's hit "Singin' The Blues" pulls out all the stops with everything sped up (is that a horn or a guitar sped up on tape?), blistering guitar (sounding very similar to some of Richie Blackmore's other guitar work for Meek) and the vocals that sound like they're trying not to get swept away by the manic pace of this song. 

https://youtu.be/Uoc0odAY3x4?si=4uUov8xUmvh0tKnE

9. BOBBY CRISTO AND THE REBELS-"I've Got You Out Of My Mind" Decca F 11913 1964

This is probably one of my favorite of Meek's "beat"group releases. It's a nondescript number with almost flat vocals but there's something catchy about from it's stereotypical Meek beat and slashing/tinny sounding guitars and a certain charm to it all. It was their sole release and it was unearthed in 1983 for See For Miles excellent compilation LP "Sixties Lost And Found Volume 3". 

https://youtu.be/scu9ew-E7ow?si=YobRAJlqEbl0wGO1

10. DAVID JOHN & THE MOOD-"Bring It To Jerome" Parlophone R 5255 1965

These unsung heroes of Brit r&b cut three singles in their short career. Their last two were on Parlophone and were produced by Meek. This reading of Bo Diddley's "Bring It To Jerome" was the first of those two. Seeped in gritty r&b harp blowing it's a swampy/gritty little mess with typical Meek drums (or lack thereof?)/percussion and raw vocals. Thankfully it was one of two tracks by the band included in Greg Shaw's epic "Pebbles Vol 6: The Roots Of Mod" LP (which also included the Jason Eddie track above). 

https://youtu.be/-x-OAgXCrIs?si=acb3_hZRkKjgLpMH

All label scans are courtesy of 45cat.com and all singles are U.K. releases.

More U.K. Obscurities On U.S. Labels: Episode Six

 

EPISODE SIX-Lucky Sunday/Mr. Universe U.S. Chapter One 45-2902 1968

Six piece British harmony pop group the Episode six released ten singles during their career from 1965-1968. Four of them were issued here in the United States including this one which was originally issued in the U.K. on Chapter One (CH-103) in October 1968 and was released here the following month where it would be their final American release (the band would cut one more single back home before falling apart when lead singer Ian Gillian and bassist Roger Glover defected to replace Rod Evans and Nicky Simper in Deep Purple).

"Lucky Sunday" is a perfect little slice of orchestrated sunshine pop (with orchestration care of the legendary Les Reed) that's vocal perfection thanks to the band's razor sharp choral ability that's always made them sound like Britain's answer to Spanky and Our Gang (to my ears anyway). The music almost takes a back seat to the choral pop perfection of the number though the strings and regal horns certainly work well enough together!

Five of the Episode Six

The B-side, "Mr. Universe" has often been described as sounding like the Moody Blues. I really don't get that from it at all, it's a cheeky little pop number with phlanged bits (ala "Pictures Of Matchstick Men") and this underlying blistering guitar.

Both sides are available on a host of Episode Six compilations and are both available on streaming. 

Hear "Lucky Sunday":

https://youtu.be/ybAs98LGe2U?si=EtIFdiZqqIJ3nztw

Hear "Mr. Universe":

https://youtu.be/X4HACW3Nig0?si=dx7xtmmXpmTnNBZ5

Classic 60's Albums: Manfred Mann "The Five Faces Of Manfred Mann"

MANFRED MANN-"The Five Faces Of Manfred Mann" U.K. LP His Master's Voice CLP 1731 1964

Manfred Mann hold a unique place in British 60's r&b annals in that they embraced a multitude of influences and covered an equally large pool of genres: blues, jazz, soul, r&b, gospel etc. All of this is no better exemplified than by their debut British long player profiled here today. What makes it all even more unique is that for a debut album there are six band originals comprising just under half the album, no mean feat for a debut album considering that Stone's featured only three on theirs. Led by South African ex-pat Manfred Mann on keyboards the band benefited from having an incredible front man in the shape of Paul Jones who not only had a strong voice but was an incredible harp blower as well. Along for the ride were multi instrumentalist Mike Hugg on guitar (flute and sax as well), bassist Tom McGuinness and Mike Hugg on drums/vibes. "The Five Faces Of Manfred Mann" was launched in Britain on September 11, 1964. 

SIDE ONE

1. "Smokestack Lightning" (Burnett)

2. "Don't Ask Me What I Say" (Jones)

3. "Sack O' Woe" (Adderley)

4. "What You Gonna Do?" (Jones, Manfred)

5. "Hoochie Coochie" (Dixon)

6. "I'm Your Kingpin" (Mann, Jones)

7. "Down The Road Apiece" (Raye)

Side One roars off with a fairly competent reading of Howlin' Wolf's "Smokestack Lightning" (curiously included on the Yardbird's debut LP as well), aided in no small part by Paul Jone's incredible harp blowing ability. The band original "Don't Ask Me What I Say" is next. It's one of my favorite tunes by them utilizing a "Can I Get A Witness" style melody delivered fast and edgy and complimented by a jazzy little sax solo by band guitarist/multi instrumentalist Mike Vickers. Cannonball Adderley's "Sack O' Woe" again offers the band a chance to flex their jazz chops offering an interesting merging of sax, harmonica and vibes (the latter care of Mike Hugg), all delivered at a frenetic pace. "What You Gonna Do" is another strong band original, a perfect moody/moddy little piece of business with incessant harmonica/organ interplay and previously was issued as the flip to their hit rendition of "Do Wah Diddy Diddy" a few months prior. Willie Dixon's (via Muddy Waters) "Hoochie Coochie" is next up, it's a fairly mundane treatment, not the strongest track on the album mind you, but not the weakest either. "I'm Your Kingpin" is another band original that is so full of soul that you would be forgiven for expecting it to be a blues cover. Driven by a forceful piano/harmonica combination it chugs along nicely and is accented by not only some jazzy vibes but by a groovy little sax solo as well (it was previously issued as the flip side to "Hubble Bubble Toil And Trouble"). Side One is closed with "Down The Road A Piece", no doubt the band were influenced by Chuck Berry's reading of this track from the Forties, but they make it their own with a sax/harmonica dual lick and some bluesy piano hammering.

SIDE TWO

1. "I've Got My Mojo Working" (Morganfield)

2. "It's Gonna Work Out Fine" (Seneca, Lee)

3. "Mr. Anello" (Hugg, Jones, Mann, McGuinness, Vickers)

4. "Untie Me" (South)

5. "Bring It To Jerome" (Green)

6. "Without You" (Jones)

7. "You've Got To Take It" (Jones)

Side Two kicks off with "I've Got My Mojo Working", in my opinion it's the weakest point of the album, the band's playing is of course excellent but it's just mundane to my ears. Ike and Tina's "It's Gonna Work Out Fine" is next and fortunately it's a palette cleanser after the previous track in no small part due to Paul Jone's vocals and Manfred's subtle electric piano. The band original, "Mr Anello" is next, it's an instrumental and no doubt it's title refers to one half of the famous London footwear manufacturers Anello and Davide. It's driven by some jazzy guitar that weaves in and out and a barrel house piano that would do Jerry Lee proud and there's some harp wailing in between. "Untie Me" is a cover of the obscure 1963 r&b ballad by the Tams, it's a halfway decent reading and provides an interesting mix with all of the more blues or jazz based tracks it's surrounded by. Bo Diddley's "Bring It To Jerome" is next, I like it it's but not nearly as powerful as David John and The Mood's gritty Joe Meek produced version from the following year. The band original "Without You" is next and in my estimation it's one of the album's strongest tracks. The beat is down and dirty and bluesy and it's fattened up by an incredible flute and vibes solo joining the prerequisite harp wailing and Paul Jone's baritone growling (it was issued in January as the B-side of "5-4-3-2-1!"). "You've Got To Take It" closes the album and it is another band original. It's not the strongest track but gets kudos because the band could have easily followed the norm and padded the album out with another Chuck Berry or Howlin' Wolf cover!

Mod Anthems Part One: The London Boys

DAVID BOWIE-The London Boys U.K. Deram DM 107 1966

Mod anthems...what IS a mod anthem? Is it the lyrics? The feeling? The music? When I was 13 or 14 my "personal mod anthems" changed from week to week and was often a combination of all of those and more. One week it'd be "Time For Action" or "Glory Boys" by Secret Affair , "Millions Like Us" by The Purple Hearts etc etc et al and who could forget the eternally pigeon holed "My Generation"!?!?

In the fall of 1983 I stumbled upon "The London Boys" on a London Records cassette comp called "Starting Point" during my quest to hear/own the rest of Bowie's non-LP Deram cuts. I had found my anthem driving late one night in a Triumph sports car through the fall swept rural roads of Bumf*ck, NJ feeling quite sorry for myself and it was a somber, sober bare bones mod torch song that leap from my shitty car stereo speakers and begged me to take notice. It was at that moment I realized that it was THE mod anthem. It was, and still is.. and much more. Bowie, despite his Anthony Newley pretensions was never a full on crooner. "The London Boys" was and is, an exception to that rule. From it's somber, glum beginning warble to the lifting full throttle cabaret ending (which David Robert Jones delivers like the Frank Sinatra of modernism) the number is a masterpiece. Restrained by a simple bass/organ backing with strains of brass (muted trumpet and tuba woodwinds) the song builds as the pitch of Bowie's plight reaches it's full descent. Lyrically poignant and proud despite the "against all odds" scenario of hopelessness, and failure faced by the song's young protagonist, "The London Boys" ages well (it was cheekily covered with some style and jazz/ska panache by The Times in 1985 on creepy  Mark Johnson's short lived mod Unicorn label). Unlike "My Generation" or any jaded/dated Secret Affair record this is the stuff of dreams, broken ones albeit, but dreams nonetheless. All of this while Bowie was still just 19 years of age. In a way it's a great social observation on one hand as Bowie was firmly tapped into the London scene (and was at the time gigging heavily at the Marquee Club with his backing band The Buzz at the time) but in a way was also as an outsider because despite a great deal of front he didn't actually live in London and when he was not couch surfing he was safely ensconced back home at 4 Plaistow Grove, Bromley at his parents home.

Originally it was demoed with Bowie's third band, The Lower Third at Pye records Marble Arch studios in the fall of '65. It was immediately rejected for release by Pye due to it's language about overt drug use(sadly this version is seemingly lost forever as unlike many other 60's Bowie tracks no version has surfaced among bootleggers or Bowie fans alike). The second version (which was used on the eventual single) was recorded in a demo session at R.G. Jones studios on October 18, 1966 as part of a series of demos in the hopes of ensnaring a record contract (Bowie had since been dropped by Pye after three brilliant but commercially unsuccessful singles). The trumpet was cut at this session and presumably the woodwinds were later dubbed in Decca/Deram's studio as the label was loathe to allow the use of outside studios to record obscure acts. The demos had their desired effect and David Bowie was awarded a contract with Decca's new Deram off shoot. "The London Boys" would surface as the B- side to his debut Deram 45 'Rubber Band" on December 2, 1966.

"Well, it tells the story of life as some teenagers saw it - but we didn't think the lyrics were quite up many people's street. I do it on stage though, and we're probably keeping it for an EP or maybe an LP. Hope, hope! It's called "Now You've Met The London Boys", and mentions pills, and generally belittles the London night life scene."
-David Bowie in "Melody Maker" in Feb. 1966

Hear "The London Boys" :

https://youtu.be/scFpxKdm2w4

EPILOUGE 2025:

In 2000 David Bowie began tinkering with "a 60's album", an entire LP devoted to re-recordings of tracks of his from the Sixties. Ultimately titled "Toy" the project was given a thumbs down by EMI/Virgin despite Bowie completing a dozen tracks which according to Tony Visconti caused Bowie to ultimately decide to leave the label. The project was posthumously released in 2021 and among it's tracks was a version of "The London Boys". Bowie had reintroduced the song into his live set in 2000 to wide acclaim and the then current arrangement was not terribly far from the original 1966 recording albeit some vocal phrasing differences (clearly David Bowie was not going to attempt to hit the notes he did as a 19 year old). Subsequently in 2022 there were multiple releases of an E.P., "You've Got It Made With All The Toys"  with selections from "Toy" including an absolutely breathtaking live version of "The London Boys" recorded at the Roseland Ballroom in NYC on June 19, 2000 complete with strings and clarinets, hear it here. I'm not usually a fan of re-recordings nor do I think much of "Toy" but I AM very impressed with this reworking. Hear it for yourself and decide.

*****This piece was originally published on Uppers.org on October 22, 2007****

More U.K. Obscurities On U.S. Labels: The Virgin Sleep

 

THE VIRGIN SLEEP-Love/Haliford House US Deram 45-DEM-7514 1967

I've long been enamored by freaky British 60's records cut by straight looking mod guys in immaculate back combed or center parted hair, Hush Puppies, patterned trousers and plaid or op art shirts (Herbal Mixture, The Score, The Flies, to name but a few). Enter The Virgin Sleep (Tony Rees, Rick Quilty, Alan Barnes and Keith Purnell) from Richmond, Surrey. One look at their photo of them below would lead you to believe they were just another Small Faces/Action aping "mod" band. One listen and you know right away that this is NOT a "mod" band.  Their debut single was released in the UK as Deram DM 146 in September 1967 and was simultaneously issued here in the States. 

 The A-side, "Love" loosely follows a chord progression and tempo not too dissimilar to The Trogg's hit "Love Is All Around". Strangely it's Deram release date was 9/1/67, a month and a day prior to The Trogg's number! It is doubtful that they influenced each other, but still a strange coincidence to note. It's backed by a string section that reeks of The Trogg's hit but also echoes The Left Banke and some of the more orchestral moments of David Bowie's debut LP (also on Deram), while the backing vocals have an eerie Buddhist chant meets Franciscan monk quality to them, with some sitar thrown in there for either good measure (or trendiness?). The whole mix is absolutely hypnotic and I find it to be among the greatest of British 60's psychedelic singles issued and it jumped straight out at me when I first heard it in 1985 on See For Miles marvelous LP compilation "The British Psychedelic Trip 1966-1969". 

The B-side, "Haliford House", is more somber and definitely not a very joyous tune. It's about a mental institution where children's toys are manufactured. It's vocals are monotone, as if the lead singer is heavily sedated and other than a brief, blistering freakbeat guitar riff here and there it's pretty low key and uneventful. The Virgin Sleep cut one more single ("Secret"/"Comes a Time" UK Deram DM 173, January 1968) but this was not released in the United States. We will be discussing this in a future post!

"Love" has popped up on both the "The Great British Psychedelic Trip Vol. One " CD compilation and Mojo magazine's box set " Acid Drops, Spacedust & Flying Saucers: Psychedelic Confectionery from the UK Underground, 1965-1969", while "Haliford House" has appeared in bootleg form only on one of the "Hen's Teeth" CD compilations and the  "Justafixtion" 3 CD box set. 

Hear "Love":

https://youtu.be/a3hf2CR9HDc?si=6w8DfpPWeXPUXOWv

Hear "Haliford House":

https://youtu.be/AqI--gr5OdY?si=a1OT7Wr0_iAiYcfe

More U.K. Obscurities On U.S. Labels: The End " I Can't Get Any Joy"

 

THE END-I Can't Get Any Joy/Hey Little Girl U.S. Phillips 40323 1965

The End were one of the first band's Bill Wyman took under his wing in the 60's when he decided to branch into production as part of his fledgling Freeway Music enterprise (which also later included Moon's Train, John  Lee's Groundhogs, Hamilton and The Movement etc) . Wyman met the band when they were opening for the Stones backing Andrew Loog Oldham's flavor of the week Charles Dickens.

Their debut release, "I Can't Any Joy" was issued in the U.K. as Phillips BF 1444 in October 1965 with Wyman at the controls (and as I have written previously here I have always wondered what The Stones would have sounded like with Bill in the producer's chair). It was simultaneously released in the U.S. It was penned by band members David Brown (bass) and Colin Giffin (Lead guitar/vocals). 

"I Can't Get Any Joy" is not, in my estimation the strongest track by The End, but over the years I have grown to like it. The subtle sax by member John Horton brings it along and helps it from becoming just another nondescript mid 60's beat number. 

Unfortunately for me the flip "Hey Little Girl" is utterly forgettable. It's not something I would revisit any time soon. 

The single failed to cause any impact in the U.K. and the band eventually relocated to Spain where they cut and released five incredible singles. They would not release any other records in the United States until three years later when their incredible second British single, "Shades Of Orange" was released here. 

Both sides are available on a host of End compilations, most recently the double album "From Beginning To End" that nicely scoops up ALL of the recorded efforts (including their Spanish only 45's). Both tracks are also available on streaming platforms. 

Hear "I Can't Get Any Joy":

https://youtu.be/tud3c3osXNg?si=g_2i9T-vVxd2PEtx

Hear "Hey Little Girl":

https://youtu.be/L1IhQutC2-8?si=oCJSDi8dbhAievN8

RICK BUCKLER R.I.P.

Word filtered through Instagram yesterday like wild fire reporting the passing of Rick Buckler, drummer of my favorite band of my youth, The Jam.

Rick was actually the guy I thought looked the coolest when I first discovered The Jam. Those Roger McGuinn glasses and high hairline always looked cool to me ("Hair by Schumi" on the back of the "All Around The World" 45 sleeve). I remember looking in awe at their records and bringing a magazine with a picture of the Jam to my hair stylist, Bob Willis who immediately took the piss out of me. "See that c*cksuckers hairline? He's gonna be bald in a few years, you need to find something else". I disregarded his advice and he cut my bangs like Rick's but with my lower hairline I looked like a Wellend. So I turned my attention to emulating Paul Weller's hair instead (but not before going around like that for what seemed like an eternity). 

Rick was the only member of the Jam I ever met. When my friend Rudie and I were caught by The Jam's gargantuan security man Joe (I think that was him name?) creeping into the backstage area at the Trenton War Memorial Jam gig (May 19, 1982) he shuffled us along until John Weller politely shoved us out a side door (after courtesy asking if we had tickets with a promise that he'd "send the boys round for an autograph"). After standing outside for what seemed like ages were noticed this short fellow in what my memory says was a Devo t-shirt approaching the door (my memory has been wrong frequently in details like that). As he got closer we realized it was Rick Buckler heading to the door we were blocking. Mouths agape and speechless we just stood there. Sensing our situation Rick grinned and awkwardly nodded and said "Alright then? Got tickets for the show? (something John Weller said as well, I wondered what would have happened had we said "No"?). We nodded yes and moved out of his way, speechless. I think I was also speechless because I couldn't believe that at 15 years of age I was taller than Rick Buckler!!

I followed Rick's post Jam career with Time U.K. with genuine interest and unlike Bruce's solo records or most of the Style Council releases I still genuinely like some of their stuff, "Remember Days" in particular. No mean feat when lots of my "likes" from "then" did not age gracefully.

Rick always struck me as a gentleman and anyone I knew who met him came back with wonderful stories about him. And in this spirit I shall leave you with this rather jovial interview with him from a few years back.....

Rest in peace. Rick Buckler 1955-2025