Acknowledgements

1960s British Rock and Popular Music
A Selected Chronology

Acknowledgements

Having a website like this since 1995 has meant hearing from people..., lots of people. Sometimes they correct or question information (and many thanks to all of you..., you know who you are). Sometimes they are looking for some specific piece of information (such as a song, an artist, or general guidance on a term paper). Sometimes they just want to say how much they liked site. (Hey, I like compliments just like anyone else.) The general point is that I have put this together as a resource.., and readers have contributed.

Early on, Bob Cumberland, Jan Eastaugh, Terry Wilson, Dr. Robert Zachary Rush, Giselle Rawlins, and Dawn Eden gave me suggestions about where to find information or on how to improve the site. I continue to get suggestions (thank you Tom Bradbury, R. S. Moore, Brenda Tseunis, John Warburg, and Ian West) and implement them. Later, I received an introduction to London's musical geography from Richard Porter (London) and to its bibliographic resources from Andrew Linehan (British Library). As a teacher, I long ago learned that students shape my thinking: student questions and research have alerted me to new sources and delivery strategies. For example, Scott Bernstein and David Zuckerman helped to dig up additional non-musical references, even if they did so somewhat under duress. Corrections are welcome.

Teaching involves researching your subject and sometimes, as is the case with me, compiling what you've learned in the form of a book. Interviewing musicians and others involved with this music was daunting at first, but everyone has been warm, open, and generous. Every time we talk, I learn things that impact this site. At the mundane level, they have provided some of the who-what-where-when-and-why information of British rock and pop of this era. More importantly, Malcolm Addey, Eric Allen, James Baring, Stan Barrett, Charlie Blackwell, Joe Brown, John Carter, Clem Cattini, Bill Covington, Bryan Daly, Arty Davies, Matthew Fisher, Vic Flick, Herbie Flowers, Mo Foster, Bobby Graham, Arthur Greenslade, Les Hurdle, Nazir Jairazbhoy, Viram Jasani, Peter Knight Jr., Carlo Little, Joe Moretti, Mitch Murray, Tony Newman, Peter O'Flaherty, Margot Quantrell, Les Reed, Norman Smith, Geoff Stephens, Big Jim Sullivan, Shel Talmy, Ronnie Verrell, Allan Weighell, Michael Weighell, and Andy White have shaped how I think about this milieu. In science, they call a change in the way you think about data a paradigm shift. For me, these conversations have been revelations.

You can't do this without money: that goes both for making music and for researching music. Skidmore College has generously supported and encouraged my research and teaching. Regents College, London provided me with my first chance to explore this subject in the classroom and I thank them, and Dean David Morgan in particular, for being open-minded and supportive. Finally, a research grant from Advanced Studies in England got me to London in the summer of 2000 to do some of my first interviews.

Lastly, thanks to Dave Maswick for assistance in setting up and helping me trouble-shoot this, my first website. He is also to blame for getting me back in a rock band at a point in my life when I was supposed to be mellowing. So much for mellowing. Rock on!

Introduction | Sources | Chronology Index

This is a living document. I welcome corrections and suggestions.
Gordon Thompson

Department of Music

Skidmore College
15 August, 2005