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Martin
Lilleker decided to document Sheffield's grand musical story,
and joined forces with John Firminger (ex- Dave Berry &
The Cruisers, pictured left), when they both realised
that they were working on similar projects. Martin told me
the book was essential from a factor of time, as he explained
that although Sheffield had suffered very few rock casualties,
time was moving on. During the five year period it took to
research the book, at least 10 musicians had died. The book
is a rollercoaster ride of styles that includes jazz, skiffle,
beat music, soul, R'n'B and psychedelic.
In
the beginning there was . . . the Big Band sound? "Not
for very long" as Martin was quick to correct me. After
the war (ask your grandad) the Big Band sound had been swept
aside by the influx and impact of Jazz on the city.
To
the outsider, sixties Sheffield was represented by Joe
Cocker, who is still as busy as ever. Martin told me that
Joe Cocker still has his roots in Sheffield returns frequently
to his hometown. Martin also drew parallels with Jarvis (his name sake) in that they both had kept banging away at
the door of success for years beyond natural endurance, before
it opened for each of them.
Obviously
in the 60's there was more happening than Joe Cocker.
The life and blood of the city were the clubs, as it still
is today. Terry Thornton's Club 60 had acquired a reputation
for excellence that had even surpassed Liverpool's The Cavern. Dave Berry described The Mojo as "wild and fashionable", and the Esquire as "sophisticated and jazzy", and
there was the Black Cat, Peter Stringfellow's thriving club.
I
had wondered whether there had been much crossover with the
Working Men's Clubs, but Martin assured me that times hadn't
changed. Back in the midst of time the WMC's were still "a
graveyard for many fine musicians, who were more content on
earning an easy quid performing cover versions".
The
book climaxes in the 70's, the time when Sheffield fell into
a major slump as club after club closed and real bands began
to lose out to Disco.
During
the research, Martin told me that he was glad to have had
the opportunity to interview Chris Spedding, as he'd
wanted to meet him for sometime. Also in a moment of possible
insanity, he had persuaded McLoskey's Apocalypse to
reform for one gig. Martin had seen them in his own early
days, and had obviously been marked by the event.
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