The Prisoners at King's Hall Herne Bay, Saturday 28th February 2026

Band reunions can be hit and miss affairs – some acts resist the temptation all together in the hope of not tarnishing a legendary reputation such as The Clash, The Smiths and Talking Heads, for example. Some bands you think have reunited have never actually gone away, they just evolve over the years – dealing with various bust-ups, court cases, serious illnesses, and of course untimely deaths along the way by replacing key members. Kind of like a football team, you still support them despite them selling your star striker, sacking a favourite manager and dropping down to the lower leagues, occasionally to rise again like a phoenix. The Stranglers were totally reinvigorated when they reverted to the traditional four-piece and moved Baz Warne up front and are now selling out huge venues like the Royal Albert Hall again. The Undertones with Paul McLoone now fully grown into his role as frontman, are probably playing more gigs now than they have in years. Then at the other end of the spectrum are some bands who are more like Trigger’s broom and really should know better, somehow continuing without any original members in the line-up at all. Some misjudge it completely and get in totally inappropriate replacements so that you wonder who is actually advising them. There are some bands who tread the cabaret circuit, happy to get together for the occasional festival, play the hits and collect a big pay cheque. 

 

Then there’s the rare case where some reunions really work, such as Pixies – which hit to a completely new generation of kids and some like Wire, who still produce superb new and vital music. So, what happens when it’s one of your really ‘special’ favourite bands, and it’s no secret that The Prisoners are one of mine. Thankfully, like The Soundtrack of Our Lives, another act who mean so much to me that the announcement of a reunion a few years ago stirred up mixed emotions. On one hand it’s ‘please god, let it be good, don’t tarnish the many happy memories, don’t let yourselves down’ and on the other, there’s the excitement that you’d get to see them play again. Thankfully in both cases, neither band let me down in the end. Of course, The Prisoners did get back together for some shows and a so-so single “Shine On Me” in 1997, but that didn’t last long, it was over pretty soon. Once it was clear The Prisoners reunion wasn’t a long term prospect, Graham and Allan followed up on the Prime Movers with the superb Solarflares, a three-piece that  eventually reverted to the classic Prisoners style line-up by adding Parsley on the organ. Then Graham recruited The Woggles’ rhythm section for Graham Day & The Gaolers and released two brilliant albums with material that matched the quality of The Prisoners. After a hiatus, the news was out that Graham had got the three-piece Solarflares line-up back under the guise of Graham Day & The Forefathers - “we’re basically a tribute band to ourselves” he told me in our Retrosonic Podcast special. There was no talk of new material – just a set of stripped back versions of classics from the back catalogue – The Prisoners, Solarflares, Gaolers and Prime Movers. They went down a storm and released a raw, live in the studio album of choice cuts called “Good Things”. 

 

Fed up with the pressures of fronting a band, Graham then started The Senior Service where he could indulge in his love of Barry Gray’s wonderful themes to Gerry Anderson TV shows such as Thunderbirds and Fireball XL5 and John Barry and Ennio Morricone’s evocative Spaghetti Western and Spy movie theme tunes. Of course, this aspect was nothing new, The Prisoners and Solarflares in particular would often include at least one or two instrumentals on their albums and in their live shows. Graham seems to have a love/hate relationship with both singing and fronting a band and with the Hammond organ. He sometimes needs a break from both. He once told me his dream was to just play guitar in one of those groovy bands you saw in a 1960’s hippie exploitation movie, where assorted spaced out kids dance away under psychedelic liquid lights. Either that or just playing guitar in The Woggles, his favourite band, would have been cool. The opportunity for this wish did occur, although in rather sad circumstances, when The Woggles guitarist Jeff Walls passed away in 2019 and they needed a replacement. So, Graham ended up touring the States, Europe, the UK (you can see a feature on The Woggles brilliant 100 Club gig here) and even Japan, where Graham, that icon of cool, was enjoying himself so much that he even performed in fancy dress costumes such as lederhosen or karate monkey suits! But the pull of The Prisoners was strong, and circumstances conspired to facilitate the latest and long-awaited reunion. The Prisoners had that something special, that all important chemistry and a hugely dedicated fanbase, as shown in the brilliant book “A Taste of Ink! The Prisoners Sentenced By Their Fans”. Plus, they had James Taylor on the Hammond organ. James had gone onto forge a respected career in Jazz, Soul and Funk with The James Taylor Quartet and it didn’t seem likely that he would be interested in revisiting The Prisoners given his success. Wrong! The news filtered through that the original line-up was getting back together, initially incognito at a friend’s party at the Billabong Club in Rochester in 2021. 

 

Then came the announcement of a show at the Royal Function Rooms in Rochester (check out our feature here), in early December 2022 to celebrate the 40th anniversary of their debut album “A Taste of Pink”. Due to the demand, it ended up as a four-night stand from November 30th – 3rd December 2022 and it was also live streamed on-line. It was emotional, it couldn’t end there could it? Thankfully no, there were shows in Herne Bay in December 2023 and the fantastic news of a brand new album, “Morning Star” followed by a gig in May 2024 at the legendary Roundhouse in London’s Chalk Farm (read all about it here), actually the band’s biggest show to date. But “Morning Star” was superb, the sound of a band having fun, embracing their influences, although sometimes sailing a bit close to the wind in the shades of The Who, Ramones, Small Faces and Hendrix, which coloured the songs, but who cared. The quality of the songs was what mattered and there were some that easily stood up to the classics, in particular “Winter In June” and “Something Better”. Everyone was on top form, with James Taylor in particular shining out with some superb Hammond. Then came the feeling that was it, all over again. In some ways it would have been a fitting way to draw a line under it all, to go out on a high, but it seemed a fire had been lit. This year came the announcement of a new single “Autumn Skies” and live shows at King’s Hall in Herne Bay, an impressive Edwardian Pavillion on the sea front where they would celebrate three albums over three nights. On the Friday night it would be 1983’s “The Wisermiserdemelza” (and my entry point to the band back in the day), Saturday would be the classic “The Last Fourfathers” from 1985 and then Sunday it would be 1986’s “In From The Cold”, where they would be joined by the James Taylor Quartet’s sometime Brass section. 

The venue was great, and in some ways better than the Roundhouse, where the sound can sometimes get a bit lost in that cavernous building. It was packed out on the Saturday night, sadly the only night I could attend and there were so many eager, happy and familiar faces in attendance, many of whom I’d got to know through my Retro Man Blog  gigs with Graham Day & The Forefathers and The Solarflares. Kicking off proceedings were Lord Rochester, featuring Russ Wilkins, formerly of The Milkshakes, Saskia Holling on bass and vocals and Lois Tozer from The Embrooks on drums and maracas. Their Bo Diddley influenced rhythms went down really well and they were the perfect opening act. My personal favourite was the Crampsian rumble of “Transcontinental” and the insanely catchy “Chicken Salt” and Russ closed the set by announcing “This is for the Mods… and the Punks” and they launched into a cracking version of “What’cha Gonna Do About It”. Next up the always reliable Masonics, aided and abetted by Ludella Black, entertained the crowd and played my favourite track “Silently By Night”, so I was happy. DJ Wendy May was spinning some mighty fine tunes, putting everyone in an even better mood and you could feel the atmosphere start to build.

 

 

Then The Prisoners took to the stage, looking great and starting strongly with “I Am The Fisherman”, the crowd went mental, you can’t get much better than this. They play a good chunk of “The Last Fourfathers” including “The Drowning” and “Take You For a Ride”, ending the section with a powerful version of “Night of The Nazgul”, one of their best instrumentals. Then we get “This Road is Too Long” and “Save Me” from the current album and in between there’s the new single “Autumn Skies” before a nice surprise from their debut album, “Til The Morning Light”. They then flit between the “Last Fourfathers” and “Morning Star” albums including a great version of “Whenever I’m Gone” and I see that Eddie Piller, who released the single on his Countdown label back in 1986, is in the crowd. The James Taylor written and sung  “Go To Him” is a highlight as it channels the way the Ramones took those Phil Spector, Shangri-La’s melodies and married them with fast Rock ‘n’ Roll, plus it has a classic “Blitzkrieg Bop” style call and response section of “just go, just go, just go with him!” Considering Johnny Symons isn’t regularly playing like his bandmates, his drumming is superb throughout and Allan’s impressive bass riffs and backing vocals complement Graham perfectly, who is in mighty fine voice. When he’s not singing, Graham stalks the front of the stage, guitar pointing out to the adoring crowd. There’s a really nice chemistry fizzing between all four of them, from Allan with his deadpan between song banter to James’s cheerleading and encouraging the crowd to sing along, they look like they are having as much fun as we are. They always did carry a reputation for being ‘surly’ and ‘difficult’, but it’s certainly not been evident at any of the reunion shows. After all, all four members spent a long time afterwards signing the new single  and chatting to fans at the impressive merch table stocked by our favourite record label Spinout Nuggets and Sound Is Colour clothing.

Someone posted a nice photo in The Prisoners forum from one of the Herne Bay nights of Allan and Graham smiling at each other, one wag commented “must be A.I.” and Allan himself replied “Fake News!” The set draws to a close with the Prisoners very own Garage Rock classic “Melanie” and then “Reaching My Head” the song which started it all for me and quite obviously The Charlatans too as they nicked the bassline and made a career out of it. A stunningly emotional “Thinking Of You (Broken Pieces)” nearly has me welling up, something in my eye! Then “I Drink The Ocean” segues into a fantastic version of Deep Purple’s “Hush” and sadly, that’s it, all over. An absolutely momentous night, we got twenty three superb songs from a band that despite starting over forty years ago, strangely seem to be at the top of their game. Maybe it’s the impressive back catalogue, the lessons that have been learned, of getting older and wanting to do things right. Maybe it’s the huge wave of respect and affection that the crowd shows towards the band, that special bond, I don’t know what it is but all I do know is that I don’t want it to end, again. I’m hopeful that there will be more to come from The Prisoners in the future so let’s hope it becomes more permanent so that we can finally stop labelling it all as just another reunion.

 

You can read all about how I first got into the band and my experiences of putting on shows for the Forefathers, Solarflares and Senior Service, in my feature on The Prisoners Roundhouse gig here. Our thoroughly entertaining Forefathers Retrosonic Podcast with Graham, Allan and Wolf Howard is still available in our archive here. You can listen to them discussing and playing a pick of their favourite songs from all aspects of their musical careers. 

Retrosonic Podcast · Graham Day & The Forefathers

 

Unfortunately, the brilliant book “A Taste of Ink!” is now sold out, but if you are interested, then please contact them here and register your interest as I’m sure they will consider a re-print if there is a big enough demand. However, don’t despair if you did miss out on “A Taste of Ink!” as a new book has just been announced. “Graham Day - 45 Years of Music”, originally a limited edition book in Italian by Antonio Bacciocchi and Luca Frazzi, has now been translated, expanded and revised by Thomas Buch and Les O’Hare and will be available to order on 20th March. Please check out their Facebook page here for details on how to get hold of this promising looking book.

 

For more videos from the gig, please head on over to our Retro Man Blog YouTube channel and subscribe for free here. All Photos and Videos copyright Retro Man Blog 2026.

Would-Be-Goods, Helen McCookerybook and Railcard at Water Rats, London - A Bizarro Promotion, February 21st 2026

Even Pete Frame would struggle to compile one of his exhaustive Rock Family Trees about the Indie talent pool surrounding Skep Wax Records and their proprietors Amelia Fletcher and Rob Pursey. Stretching back to the C-86 Twee Student Jangle Indie-Pop scene, or whatever ridiculous genre the music press deemed to patronise the acts with, their band Talulah Gosh was to go on to spawn many and various bands, spin-offs and side projects, not to mention the influence they would have on generations of eager young fans into forming their own bands. Each trademark branch of those intricate Pete Frame diagrams would probably feature guitarist Peter Momtchiloff in some guise or other though, and tonight Amelia and Rob’s former Talulah Gosh and current Heavenly colleague appears in two out of the three acts on show. Hosted by Bizarro Promotions, this sold-out gig at Water Rats in London’s Kings Cross is basically a showcase for two brand new Skep Wax releases – their compilation of Railcard’s first three E.P.’s and the latest excellent album “Tears Before Bedtime” by headliners Would-Be-Goods.

 

Tonight’s gig came at the perfect time for me, an absolute godsend as I must admit I’ve been on a bit of a Dolly Mixture kick recently, ever since reading Debsey Wykes’ fantastic autobiography “Teenage Daydream” and coincidentally bumping into her at two recent unrelated book launch events. I then went along to see Debsey interviewed by Daniel Rachel about her book in conjunction with a rare screening of the excellent Dolly Mixture documentary “Take Three Girls”. So, suddenly I’d get the chance to see another Dolly Mixture, Rachel Love, and her new band Railcard, for the first time. The Water Rats is sold out and there are almost as many musicians in the audience as there would be on stage throughout the night. Here’s just a few that were in the room – Allan Crockford from The Prisoners (who mixed the Railcard recordings), Viv Bonsels from The Galileo 7, Pete Astor from The Loft, Kevin Younger from The High Span, Ian Greensmith from The Dentists and his former bandmate Bob Collins who is now in another Skep Wax act, Swansea Sound. Then there’s Dave Morgan from The Monochrome Set, Jon Klein from Specimen and Siouxsie & The Banshees and even Gaye Black from The Adverts. It would have made for one hell of a supergroup. Oh, and yes, it’s Debsey again, here to support her former Dolly Mixture friend and former bandmate. 

 

Railcard take the stage, Rachel looks amazing and I’m immediately captivated by her cheerful smile and the promise of hearing those wonderful songs live for the first time. The aforementioned Peter Momtchiloff is on bass duties and there’s Ian Button from Heavenly and Penrose Web and Papernut Cambridge (and more!) on drums and vocals with Allison Thomson on trumpet, keyboards and vocals. Ian takes over lead vocals on the brilliant, foot stomping “Northern Soul Dancing” which is my personal highlight of their set with excellent lyrics about getting to the age where you wonder if it’s really too late to try and recapture that abandon and exuberance of youth. Busting out those spins, kicks and flicks on the dancefloor, it’s a classic.

Their songs are catchy and immediate, “Narcissus” is built on a driving military style beat with some biting lyrics and the sublime “Cherry Plum” is one and a half minutes of pure gorgeousness. They don’t play my favourite “Born In 62” though, I love that song with its Sonics “Strychnine” motif, and I was hoping it might make an appearance. The Dolly Mixture movie director, Paul Kelly, told me that song summed up the loose concept behind Railcard, all the original members were born in ‘62. He said that he was in an early incarnation of the band but I can’t remember if he said his role was Off-Peak Railcard, Family Railcard, Student Railcard or Senior Railcard? Talking of which, I was gutted they had sold out of the plastic Railcard railcard holders, a brilliant idea for band merchandise. I’m sure they have now gone on to be much sought-after collector’s items; I shall not rest until I have trawled eBay and spent my life’s savings on one. They play a great cover of Dandy Livingstone’s “Think About That” and close the set with the hypnotic "Disco Loadout" and the warm applause from the crowd fills the room. There’s something totally addictive about Railcard, something uplifting and refreshing – they will leave a smile on your face and a promise to yourself to bust out some Northern Soul shapes as soon as you get home. Well, once you’ve had a sit down and a nice cup of cocoa that is.

Rachel Love of Railcard and her former Dolly Mixture colleague Debsey Wykes

Next up is Helen McCookerybook, formerly of Indie-Pop pioneers The Chefs, who treated us to a thoroughly entertaining set. Starting off alone with the beautifully evocative “London” she is then joined by Robert Rotifer on guitar and vocals and Ruth Tidmarsh on bass and vocals and their harmonies have a real chemistry that ooze warmth. My personal highlight was “Three Cheers For Toytown”. Helen explains at the start “usually we have Terry Edwards playing trumpet but he’s off playing with The Nightingales, so we’re going to hum his parts. “Sixties Man” is another great moment, as is the audience participation on “The Sea”. Helen has an engaging presence, and her voice really draws you in and it’s no wonder she got a fantastic reaction from the crowd.

 

Would-Be-Goods open the set with the brilliant “The Morning After” which has a chorus that reminds me of The Monochrome Set, not surprising as to singer Jessica Griffin’s right stands the always impressively impassive Andy Warren (of Monochrome Set and before that, the original Adam & The Ants) nonchalantly spinning out some superb bass lines on his trademark Rickenbacker. There’s also a big link between the two bands, Bid and Co. were the backing band on Would-Be-Goods early releases and Peter Momtchiloff, now on stage with his guitar, was in Bid’s side project, Scarlet’s Well. On drums and vocals is Debbie Greensmith from Thee Headcoatees and Ye Nuns and that completes a superb line-up. However, similar to Railcard, Would-Be-Goods were also guilty of not playing one of my favourite songs tonight, sadly there’s no “Emmanuelle Beart”, but they are promoting their latest release “Tears Before Bedtime” after all, so some older numbers are bound to be missed out. Anyway, it’s not such a big issue with the new album being so damn good, packed with songs of the quality of “Tears For Leda” with its killer guitar riff intro reminiscent of The Kinks’ “Till The End of The Day”. 

 

Jessica Griffin’s songwriting is something special, she has a knack of transporting you from a summer picnic on the riverbanks of an English university town, punts flowing past and the sound of leather on willow in the background to the cafes and patisseries of Le Marais and the Rive Gauche followed by a stroll past Serge Gainsbourg’s house on Rue de Verneuil. There’s beautifully constructed exotica such as “Madame X” but Jessica can then hit you right in the heart with stripped back, emotionally raw songs like “Heart of Tin” and “Too Old”. They play a good chunk of the new album and despite only listening a few times on-line prior to picking up a vinyl copy on the night, the songs are immediate and you find they are already lodged in your head. “The Gallopers” and “Witch Hazel” are prime example of the wonderful melodies that sound as familiar as most of the old favourites. Talking of which, I moaned about not getting “EB” but the brilliant “Cecil Beaton’s Scrapbook” keeps me quiet and more than makes up for it. “The Camera Loves Me” is another oldie and mighty fine goodie and it’s great to see Debbie singing the backing harmonies with a big smile, glowing with enthusiasm. It was a fantastic set, and I can’t recommend the new album highly enough, it’s an absolute classic. I mentioned this to Andy Warren, and he replied in perfectly deadpan manner, “thanks, yes it’s a cheerful album”. Priceless! 

All photos and videos copyright Retro Man Blog 2026. More videos from the gig can be found at our Retro Man Blog YouTube channel here, please subscribe for free to access our whole archive of original live videos. Here are some useful links, please click to investigate further...

Would-Be-Goods

Railcard

Helen McCookerybook

Skep Wax Records

Heavenly

Bizarro Promotions

The Monochrome Set

Dolly Mixture

Debsey Wykes "Teenage Daydream - We Are The Girls Who Play In A Band" book

 

Debsey Wykes Q&A on her book “Teenage Daydream” and screening of “Take Three Girls The Dolly Mixture Story” at the ICMP London February 19th 2026

I went along to the ICMP Music College in Queen’s Park for the first time for a rare screening of “Take Three Girls – The Dolly Mixture Story” directed by Paul Kelly from Heavenly Films and the partner of Debsey Wykes bassist and vocalist with the band, who met when touring as part of St. Etienne’s live line-up. The screening was followed by a Q&A session with author Daniel Rachel interviewing Debsey about her excellent, critically acclaimed autobiography “Teenage Daydream: We Are The Girls Who Play In a Band”. They discussed various key aspects of both the book and the film along with the process of writing and the background of collating all the information from Debsey’s suitcase full of diaries along with the ‘brutal’ editing process. I think it’s testament to Dolly Mixture and their legacy that they set a template for many an all-girl and female fronted Indie-Pop band for years to come. Not just with their vintage 60’s style look and timeless songs of seemingly wide-eyed innocence but that most crucial of things - the classic song writing and gorgeous vocal harmonies, which still sound as fresh today as they ever did. Unfortunately, it’s a sad fact of musical life that true originators and talent often get commercially overshadowed by the impersonators. For example, take three of my favourite bands, The Prisoners, Shack and That Petrol Emotion, they too never hit the mainstream heights that they deserved but were somewhat crushed in the rush to copy their sounds and for record companies to later cash in on the slipstream. I think Dolly Mixture suffered from this too but I sincerely hope that Debsey’s superb book, along with a wider release of the documentary, might go some way to redressing that balance.

Daniel confronts the sexism that the band were subjected to, from the ‘male obnoxiousness’ of the times to the more ingrained discrimination from the record companies and music press in general. There’s a harrowing tale of the time that Debsey was assaulted on stage by a skinhead at a Bad Manners gig which is quite shocking but it’s a reminder of the gig-going times of the late 70’s and early 80’s. Touring with Bad Manners also opened them up to being spat at and being subjected to outbreaks of sieg-heiling from a hostile audience. Bad Manners as a band were very supportive and protective of Dolly Mixture though but it must have been disheartening for the band to have to endure. Although, the sexism they faced from the male dominated music industry was sadly to be expected in those times, what surprised me most is the antagonism and outright hostility they faced from some of their female peers – most noticeably from The Modettes. They think they are in for some welcome support from a female journalist who then proceeds to complete slag the band off for no apparent reason in print. It’s spiteful and unnecessary and you wonder why this kind of bullying would exist, especially towards a band such as Dolly Mixture, who whatever you thought of their music, were hardly controversial or antagonistic.

They did however receive some unexpected support from Captain Sensible, who along with The Damned’s bassist Paul Gray offered to help them in the studio. He then asked them to back him on his new solo career and they eventually reached Number 1 in the charts together with the single “Happy Talk”.  This led to various appearances on Top of The Pops and despite Captain generously promoting Dolly Mixture in their own right, they still couldn’t seem to break out. Despite the good intentions and success, maybe it was more a curse than a blessing as they were more likely to get labelled as just the Captain’s backing band. More support came from some very unexpected people such as Eric Faulkner of Bay City Rollers, Dave Goodman the sound engineer for the Sex Pistols and Buffin from Mott the Hoople who all helped them out in the studio. They even wrote a comeback single for the child-star Lena Zavaroni. Terry Hall gave them Single of The Week in Melody Maker and invited them to play with The Fun Boy Three. Paul Weller’s Mum, Ann and Dad, John were also extremely supportive and Debsey talks very warmly about Ann in particular, who she wished had been their manager. Paul Weller signed them to his fledgling label Respond but sadly soon lost interest to concentrate on his next protégé. John Peel was also a huge fan but apparently his producer John Walters hated them and they never got their session repeated, which was very rare. The Undertones continue to cement their place in music history as being the nicest guys in Rock ‘n’ Roll as they offer Dolly Mixture a support slot the very next night after the girls hung around with their demo tape outside a gig in Cambridge. Debsey asked for Damian O’Neill’s autograph and he told her he had loved their Peel Session. “Just bring your guitars to Aylesbury Friars tomorrow” they said and this led to a proper tour with The Undertones. So despite these welcome offers of generous help and support it’s even more unbelievable why the band could not break out into the mainstream. There’s also the irony of having U2 support them at the Moonlight Club in West Hampstead, a gig that my Blog colleague Rock photographer Paul Slattery attended, they had no idea at the time that U2 would go on to be such global superstars, sometimes there’s no justice!

The book is a charming collection of diary entries, fan letters and reminiscences about what it’s like to form a band, of playing in bedrooms, swapping instruments and taking those first steps out to play live. Debsey captures those innocent times perfectly, of going up to London with a stash of demo tapes and heading to a phone box to call various record companies plucked from the telephone directory. She also discusses the band’s influences such as Glam Rock, The Monkees, Blondie and Debbie Harry, Patti Smith and Poly Styrene of X-Ray Spex and the Ramones. They also started delving back into the 60’s of Bacharach and David, Motown, The Shangri-La’s and the Ronettes and you can see touches of all these in the Dolly Mixture sound. It’s shocking to think Dolly Mixture didn’t even release an official album until their own self-released “Demonstration Tapes” compilation just a year before they called it a day. Even to this day, it’s quite difficult to track down copies of their records and surely, some proper record label with sense should consider a thorough reissue plan. 

The Long Play Sessions is a series of talks with musicians and music related authors about their current books held at the ICMP campus in Queen’s Park. They have already hosted Daniel Rachel being interviewed by Miranda Sawyer about his latest book “This Ain’t Rock ‘n’ Roll” and have upcoming talks booked in with Lawrence from Felt and Will Hodgkinson about their superb book “Street Level Superstar”, Keith Cameron on his history of Manic Street Preachers and Melissa Auf Der Maur from Hole and Smashing Pumpkins discussing her forthcoming autobiography. It’s a great venue and Paul Wilson seems to be doing an excellent job in attracting some top names to his sessions and being a music college, of course they have good access to enthusiastic staff and top audio/visual facilities.

For more on Daniel Rachel's books including the superb "Too Much Too Young: The 2 Tone Records Story", please check out his website here. 

Ray Stevenson "Not Just Punk" - New Book from the legendary music photographer

We went along to the Farsight Gallery for the launch party of the new book "Not Just Punk" from legendary music photographer Ray Stevenson. The gallery was packed with familiar faces including some that feature in the book itself including Gaye Black of The Adverts, Neal X of Sigue Sigue Sputnik and Spizzenergi. Also in attendance were Leigh Heggarty of Ruts DC, Tom Crossley of The Phobics, Barrington Francis of The Saints, Anne Pigalle, Chris Musto of Glen Matlock's band, Debsey Wykes of Dolly Mixture, Paul Kelly the Heavenly Films director, Clash DJ Scratchy Sounds, author Daniel Rachel, Roxy club owners Andy Czezowski and Sue Carrington and music photographers Paul Slattery (my Retro Man Blog colleague), Jill Furmanovsky, David Corio and Erica Echenberg. There was a presentation of some of the photos featured in the book and a Q&A session with Ray hosted by Farsight Gallery owner Sean McLusky (Subway Sect and JoBoxers). It was another great event at the Farsight Gallery which is located on Flitcroft Street just off Denmark Street close to the site of our beloved and much-missed 12 Bar Club. I'd recommend signing up to their mailing list as they do put on some superb shows which have previously included Mick Jones Rock 'n' Roll Public Library and the Batcave LP launch party.

Ray Stevenson with his new book "Not Just Punk"

Eric Waring, DJ Scratchy Sounds, Gaye 'Advert' Black and Paul Slattery

Gaye Black of The Adverts

Here's a brief biography of Ray courtesy of the Farsight Gallery...

Ray Stevenson started out as a teenage darkroom apprentice back in mid 1960's London. After meeting with rising folk star Buffy Saint Marie, discovered folk-nights at the Marquee Club, then he was introduced to seminal folk venue Les Cousins by Sandy Denny. Ray became a regular at both of these venues shooting many unknown musicians like Bert Jansch, Roy Harper, Al Stewart, John Martyn, Cat Stevens and Marc Bolan. Stumbling upon a Jimi Hendrix sound-check gave Ray a taste for plugged-in-guitars and opened up another trajectory that resulted in him photographing a much broader range of musicians. His photo ‘The Who at the Marquee 1967’ was used by the Royal Mail in their 2025 commemorative collection. But the Stevenson portfolio went beyond photographing the musicians of the day as his work also featured models, hippies, ballet dancers, the occasional film star and friends. One of those friends was David Bowie, whom Ray shot many pre-glam photos of. None of this activity was enough to pay the rent, so he took a 9-to-5 job in the BBC Open University dark-room. 

Sean McLusky (R) interviews Ray

Anne Pigalle with Spizz who features on the book's cover and inside... both photos above by Paul Slattery

Then in early 1976, Ray's brother Nils asked him to take some pictures of a new group called the Sex Pistols. And so began Ray's second wave of live visual work - capturing the nascent Punk movement and the New Wave and Post-Punk scenes that followed it. His photos of the Pistols, Clash, Siouxsie Sioux, Soo Catwoman, Jordan, 2-Tone, Sigue Sigue Sputnik, et al are now rightly seen as iconic and have been used in numerous books, magazines and documentaries.  His own photo books - Sex Pistols File, Vacant, the Siouxsie & The Banshees Book and Photopast - sold many thousands of copies worldwide and are regarded as collectors' items. In 2007  Ray was described 'as the most important rock photographer of his generation'. He has now released ’Not Just Punk’, a look back at some of those glorious times and people.

Paul Kelly, Paul Slattery, Daniel Rachel and Debsey Wykes

Paul Slattery, Ray Stevenson and David Corio

You can check out more about Ray Stevenson and his work at his official website here and you can order the book at Amazon here. For more information on the Farsight Gallery please subscribe to their newsletter via their Farsight Collective site here or on Instagram here.

Sex Pistols in Carnaby Street by Ray Stevenson - Courtesy of Farsight Gallery