I was at
the Demolition Ball, in the final crowd to enter London’s Astoria without
compulsory hard-hats, so I know the sting of losing a place built on thousands
of peoples’ memories. For now though, I’ve decided to focus on the venues that
are still standing; that have survived the economic ups and downs (in some
cases several times over) and are still creating memories for thousands more.
The four walls of Oxford Street’s underground 100 Club are still playing host
to some of the most exciting live shows on the circuit, of new and not-so-new
musicians alike.
On 24th
October 1942, Mack’s restaurant (not yet known as the 100 Club) was hired out
by British jazz drummer Victor Feldman’s father, with the sole intention of
giving his jazz-obsessed sons and their band a place to play. The first gig at
Mack’s featured Feldman’s two brothers on clarinet and accordion, with the now
legendary Jimmy Skidmore on saxophone. News of this new jazz venue spread
quickly through the American and British servicemen stationed in London during
the Second World War who were looking for a dance. One such visitor was big
band maestro Glen Miller, who appeared at Mack’s with his famous band. The club
itself, being a basement, acted as an air raid shelter for the dancing masses
on more than one occasion.
After
its initial surge in popularity the club’s name was changed to the London Jazz
Club (1948), specialising in swing; before being changed again to The Humphrey
Lyttelton Club (1950) after the English trumpet player and band leader (who
later went on to host the radio programme Sorry I Haven’t A Clue), who’s agent
was the leaseholder at the time. It was around this time that the great Louis
Armstrong performed there with his band while they were on a break from a
British tour. As time went past (we’re at about 1959 now) the Humphrey
Lyttelton Band and the Club became synonymous with the growing trad jazz scene,
and the club’s popularity grew with it.
By the
mid-sixties and early seventies, the 100 Club we know and love had been born,
and was playing host to some of the biggest names in blues ever known; Albert
King, Bo Diddley, B.B. King and Muddy Waters to name a few, as well as soul
legend Jackie Wilson. As the popularity of the blues rose in the UK, the
British blues and beat scenes also took to the club’s stage, with acts like
Julie Driscoll, John Mayall’s Bluesbreakers and The Animals pulling in the
crowds. The, then unheard of, Spencer Davis Group, Kinks, and The Who also
played the club around this time. This prosperity didn’t last, however, and the
1970’s Three Day Week and unions’ Work To Rule policies took their toll. Due to
industrial action by coal miners, electricity was basically rationed by being
automatically switched off between 6 and 9pm.
The
looming frustration across the nation soon erupted though, with well-documented
affect. In 1976 the 100 Club held the world’s first international punk
festival, helping to move punk from the underground into the cultural
limelight, and the club back into business. The Sex Pistols, The Clash, The
Damned, Siouxsie & The Banshees, The Buzzcocks, The Vibrators and The
Stranglers all played what must have been one of the most incredible and
destructive two-day festivals in history. Incredibly, at the time, all of them
were unsigned.
As few
other clubs were willing to stage punk gigs the scene remained focussed around
the club for almost nine more years, with the second wave of punks (G.B.H., The
Exploited, Discharge) cementing the 100 Club as the punk movement’s spiritual
home.
In the
interest of complete contrast, the club also hosted lunchtime reggae sessions
with The Equals and Eddie Grant playing, as well as the hugely popular Saturday
Soul club. The 6T’s Northern Soul All Nighter also took place at the club
around this time, with performances from legends including Doris Troy, Ray
Pollard, The Flirtations and Lou Ragland. Amazingly, the night is still going
to this day.
Just to
give you an idea of what a bizarre melting pot London was in the eighties, it
was during this time of punk, reggae and soul all sharing the same stage that
South African township music arrived on the backs of jazz sextet The Blue Notes
and The Brotherhood of Breath. African drummer, Julian Bahula’s Friday night
line-up regularly featured performances from musicians that were political
refugees due to the apartheid; including Fela Kuti, Youssou N’Dour and Dud
Pukwana. They ran until the release of the late Nelson Mandela, which was
almost a decade.
Fast-forward
to September 1992 and four boys called Suede took to the stage, heralding the
start of the 100 Club’s indie era (which is arguably still in full swing). Over
the next decade, the club saw Oasis, Kula Shaker, Echobelly, Catatonia and
Cornershop perform; before the second wave of Semisonic, Muse, Doves, JJ72,
Squarepusher and Ocean Colour Scene came crashing through the doors.
The
longevity and heritage of the 100 Club mean that it has a special place in the
hearts of acts like Paul Weller, who, since playing with The Jam in the early
eighties has come back several times (the last time was 2012) to try out new
material or just play a smaller gig. If Paul Weller doesn’t concern you then
consider that both Metallica and The Rolling Stones have used the venue as a
secret warm up gig before touring. So go, go to this hallowed place and touch
the sweaty walls, because venues like this one are living history.
No comments:
Post a Comment