THE WAIT
27 March 1980 - College of Technology
Common Room
Supported by The Kitchens
Interview/Review by Tom Vague and
Perry M, Vague 4, 1980: 'Complaints
from people: 1.
Photographer complained about bar
prices and that the gig was a
gathering of Salisbury punk society –
It was an art college party and if art
students don’t want to go to gigs put
on for them it’s up to them. 2. People
say there are no gigs in Salisbury –
When there is something on they either
don’t bother to go or don’t give the
bands a chance. 3. A lot of people
seemed to be disco fans and sulked
during the bands then bopped away
during the disco – If they want discos
there are loads every week, but gigs
by out of town bands are rare. Poor
attendance – certain people’s
behaviour may mean no further gigs – a
bum gig like this was just the chance
some union members are looking for.
Getting away from the apathetic
Salisbury punters on to the gig
review. We appear to have lost the gig
review. But the Kitchens and the Wait
were great, Salisbury was s---.'
THE WALKER BROTHERS
City
Hall
WARM DUST
20 February 1971 - Alex Disco
GENO WASHINGTON AND THE RAM JAM
BAND
1 June 1967 - City Hall
Supported by
The Combustion.
8 August 1968 - City Hall
Supported
by The Emotions.
14 October 2006 - The
Trafalgar School For Downton (That's
Downton Secondary Modern or 'The
Academy' to anyone over the age of 12)
Supported by Dead Mile, who had won
a local 'Battle Of The Bands' in the
afternoon to secure the
honour.
A truncated version of the
following appeared in 'Record
Collector': 'An incredibly tight Ram
Jam Band announced Geno's entrance to
a half empty school hall - frankly the
event could have done with a little
more promotion - but, although the
atmosphere felt something akin to a
PTA end of term dance, the show was
full of professionalism and
commitment. 'I Can't Turn You Loose'
was followed by 'Land Of A Thousand
Dances' (surely the greatest song
title ever?) and plenty of classics
from Geno's contemporaries'
catalogues - 'Gloria', 'I Got You' and
a tantalisingly brief snatch of a
powerful 'Jumpin' Jack Flash'.'
There were also a fair few laughs to
be had as Geno mugged whether to go
for the mic or his ciggie during 'I
Put A Spell On You' and made a false
start on 'Sweet Soul Music' having
claimed he never played the song in
full as Arthur Conley died owing him
money (he completed it in the end
though). The 'manic' personality was
credited to 'just two doubles' before
the show, and seeing as how I was also
on some pretty heavy prescription
medication, one might just have been
at The Flamingo in 1966. Despite the
fairly sparse attendance, we would
like to thank the Downton Festival
Trust for bringing the village its
first chart act since Mike Reid in the
mid 70s. Next year could we please
have John Fogerty in the back room of
the White Horse?'
WASTED YOUTH
13 November 1981 - College Of
Technology
Supported by Gettysburg Address
THE WEDDING PRESENT
20 February 1992 - Arts Centre
'The Rambler' magazine: ''Corduroy' was
the first number followed by two of
this year's twelve singles and then
back on to more 'Seamonsters'
stuff. 'Kennedy' was the only track
from before 'Seamonsters' and this was
the one that really got the audience
going. After that, although the
audience were at frenzy point, the
musical content was perhaps not so
good, with a number of inconsequential
new songs which probably lacked the
thrash of The Weddoes better and longer
songs, as they too will probably appear
as singles. A glorious rendition
of 'Heather' was probably the highlight
towards the end accompanied by one
rather poor stagediver and the
pronouncement that 'This is the last
one. Those that know us know we don't
do encores'. Even the last one was a
newie - but it was better than the
others.'
20 September 1992 – Arts Centre
Supported by the Venus Beads
12
October 1996 – Arts Centre
Supported by The Delgados
18
November 2005 - Arts Centre
Supported
by The Organ
For various reasons
this was the first time I had been to
the Arts Centre in five years, and it
was even longer since I had seen The
Pressies. But ah yes, it was still all
there - the gothic arches, the wooden
roof frame, our traditional standing
spot near where Our Nan got married in
nineteen thirty something, the slow
build ups, the jangley, thrashy riffs,
the mid song drop-outs, the heartbroken
and heartbreaking lyrics and the 'we
don't do encores' finale - oh - and a
new feature - several local indie crowd
faces from back in the day, looking
greyer and more creased - particuarly
in the mirror in the toilets.
WHEATUS
20 June 2002 – City
Hall
The highlight of the show was the
encore, when the band invited a load of
kids on stage and at the first chords
of the chorus of 'Teenage Dirtbag' they
all started bouncing up and down as
one - a fantastic memory for any of
them who were first time gig-goers.
Next day England stupidly and lazily
threw away a lead again Brazil in the
World Cup and I felt for those same
kids, who had yet to discover that your
idols are always fallible in the
end.
THE WHO
26 August 1965 - City Hall
Supported
by Bobby Euston and The Click.
24 June 1966 - Unconfirmed
Venue
According to Who websites and
books, the band played in Salisbury on
this date at the ‘University’. It may
be that this is intended to refer to
the Art College, although it seems
unlikely given that this was on
relatively small premises in New Street
at the time.
WIDE
Arts
Centre
MARTY WILDE
1 November 1962 – Gaumont
Supporting
Billy Fury.
21 March 1964 - City Hall
Supported
by The Mavericks.
WILD HORSES
1978 - City Hall
Supported by The
Kitchens
WISHBONE ASH
19
April 1972 - City Hall
THE
WISHING STONES
21 September
1988 - Arts Centre
THE
WOLFHOUNDS
26 January 1989 -
Arts Centre
Supported by The
Badgeman
WOLFSBANE
May 1988 - Arts Centre
Supported by Mr 10
WRATHCHILD
1989 - Arts Centre
BILL WYMAN'S RHYTHM KINGS
3
July 2001 - City Hall
4 July 2002 -
City Hall
An official souvenir CD of
this tour, 'Bootleg Kings - On The Road
Again' (Ripple Records RIPCD 004),
includes the track 'Too Late' recorded
at this show
26 February 2008 - City
Hall
Roger Elliott writing in the
Salisbury Journal on 6 March 2008: Ol'
stone-faced Bill Wyman and his mates
gave Salisbury a shot of rhythm and
blues par excellence on Tuesday night,
on a tour of their musical roots that
took in soul, blues, rock 'n' roll,
jive, skiffle and even a bit of Cajun
zydeco. The former Rolling Stones
bassist has
surrounded himself with great musicians
with a shared love of music and the joy
of playing live. They may have seemed a
well seasoned, craggy bunch but with
the likes of legendary guitarist Albert
Lee, Welsh keyboard wizard Geraint
Watkins and ace sax player Frank Mead
on board, they are an ultra-tight
outfit who can play anything and have a
good deal of fun in the process.
Special guest for the tour is Dennis
Locorriere, of Dr Hook fame, proving
himself a fine soul singer, negotiating
gems from back catalogues of Ray
Charles and Marvin Gaye as well as a
fine duet on the Harlem Shuffle with
the band's regular vocalist, and
certainly youngest member, Beverley
Skeete. Along with sterling versions of
tracks
by The Coasters, T-Bone Walker, Fats
Domino, Gene Vincent, Wilson Picket and
Lonnie Donegan, there were several
unexpected but inspired choices. A
jazzy Johnny B Goode preceded by a very
droll recitation of the lyrics in the
style of Dylan Thomas, courtesy of the
deadpan mirth-maker Mr Watkins and a
Memphis soul take on Bob Dylan's
Maggie's Farm a la Solomon Burke.
Dennis's heartfelt version of Randy
Newman's Louisiana 1927 had the
appreciative audience on their feet.
Throughout the evening the inter-band
banter was both dry and witty, usually
revolving around the age of Bill Wyman.
Mind you, without the pressures of
stardom, Bill exudes an easy charisma
and seems to be having the time of his
life. Also on the humorous side, I've
got to mention the funky horn players,
Nick Payn and Frank Mead, who virtually
had a show of their own going on their
side of the stage with their clever
choreography and crazy antics. By the
time we reached the last note of
Beverley Skeete's spine- tingling
rendition of Screaming Jay's I Put a
Spell on You, the crowd were up on
their feet once again roaring for more.
The gig ended with a rousing romp
through Chuck Berry's You Never Can
Tell, which simply took the roof off.
After that, who could ask for anything
more?
16 November 2011 - City Hall
Pete Gregory (writing in the Salisbury
Journal of 24 November 2011): THIS was
number 26 out of 36 of Bill Wyman’s
Rhythm Kings tour venues and the City
Hall welcomed his return with not a
spare seat in the house. And he brought
with him as special guest all the way
from America – Mary Wilson of The
Supremes fame.
On stage with Bill were eight musicians
and six vocalists with exceptional
musical pedigrees and the band provided
an eclectic mix of musical styles
ranging from rhythm and blues, soul,
rockabilly, blues, jazz, country, rock
and jump. Added to this was Motown,
courtesy of Mary Wilson. There were
many high points during the show
beginning with Georgie Fame on his
Hammond organ belting out I’ve Got a
Woman. Two great duets from Mary Wilson
and Georgie Fame with Stormy Weather
and Beverley Skeet and Albert Lee with
the Everly Brothers song, So Sad.
Coupling this with the high energy
radiating from the stage when the band
played as a unit made for a fabulous
evening. Songs such as Three Cool Cats,
the Coasters classic featuring a
memorable Frank Mead sax solo and
Albert Lee singing Lonnie Donegan’s
Mule Skinner Blues. A soulful Beverley
Skeet singing the James Brown classic
It’s a Man’s World silenced the
audience and band. Mary Wilson’s
contribution was immense, reintroducing
a medley of Supremes favourites from
Baby Love to You Can’t Hurry Love as
well as a beautiful version of the Nora
Jones song, Don’t Know Why. Bill Wyman
did what he always did as a member of
the Rolling Stones, standing at the
back of the stage and laying down the
bass rhythm while letting all the
showbusiness go on in front of him.
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