25 – THE BRITISH INVASION

The British InvasionFour mop-topped musicians straining to be heard over the din created by a horde of screaming teenage girls continues to be the most vivid image of what has since been called the British Invasion. However, the remarkable success of The Beatles was the culmination of many years of attempts by the British to break into the all powerful American pop music market.

Although Britain had always fostered a healthy self contained music industry, few of its artists had enjoyed international success. During the first half of the century, the popularity of such entertainers as Harry Lauder, Gracie Fields and Vera Lynn had contributed to Britain's musical identity abroad. The country's global image depended mostly on its wealth of music hall artists.

Heavily influenced by the American hit parade, the trade paper The New Musical Express created Britain's first ever pop music chart on Nov. 14, 1952. It was a top 12 listing, expanding to top 20 on Oct. 1, 1954, top 25 on Dec. 30, 1955, top 30 on April 13, 1956, top 50 on March 10, 1960 and finally top 75 on May 6, 1978. Chart compilation was taken over by Gallup on Jan. 8, 1983, when they were established as The British Record Industry Charts. The very first chart was topped by American Al Martino's "Here In My Heart," and with the exception of Vera Lynn's "Auf Weidersehn Sweetheart" at #6, which had already topped the U.S. charts, and orchestra leader Ray Martin's recording of "Blue Tango" at #7, the other positions were all held by Americans.

As the 1950's progressed, several waves of home grown acts hit the charts, many covering hits of American origin. This was obviously detrimental to any international acclaim. For instance, little Ruby Murray from Ireland covered Joan Weber's "Let Me Go Lover" in 1955, beating out the original. Murray, an excellent vocalist was unable to grab the much sought after brass ring of American success because most of her work involved covering American hits. Britain was a limited market. Hitting the bigtime meant conquering America.

When the rock and roll revolution swept the United States, Britain immediately followed suit. American rockers were able to create an even more fanatical following in Europe than Stateside. Fans eagerly sought out the latest recordings, often importing hard to find items directly from the States. Americans working on the boats brought rock and roll records with them to British seaports such as Liverpool. Premier rockers like Little Richard and Chuck Berry found that they were more revered in England than in their own country. Race was not such an issue and many black performers were immediately hailed as heroes, whereas the very same artists were still victims of discrimination in America. The three major European areas where rock took root were Britain, Germany and France. Rock concerts became a cause for concern, often the scene of riots as frenzied fans were overcome with the hysteria.

During the mid to late 1950's, several British entertainers caught the fever, adopting a pop/rock format, often fusing the new music with a strong British sensibility. In the beginning, most of the acts were strictly softcore pop. On Sept. 6, 1956, the first British rock and roll club opened at Studio 51 in London's Great Newport Street.

At this time, a new form of acoustic folk rock emerged involving the cheapest of homemade instruments. It was called skiffle (see Rock And Roll). It was a street music based on a mixture of traditional folk and rockabilly, often spiced with British music hall elements. The prominent skiffle artist was Lonnie Donegan yet his international impact was short lived. Even the poorest of musicians could afford to join a skiffle band. One such group was called The Quarrymen who would later evolve into The Beatles.

Later, when the emphasis was placed on electric rock, several boom areas emerged as the meccas for the new burgeoning music industry - Liverpool, Manchester, Glasgow and of course London. Rock became a means of escape from poverty for many a struggling lad. Any performer with or without talent saw rock as the definite road to easy street. The majority of the new British rock bands became self-sufficient writing/performing units, posing an immediate threat to the previous writer dependent acts in both Britain and America.

By 1963, all of North America was hearing about the emotional effects caused by something called Beatlemania. Less than one year later, the west succumbed to the disease and a much bigger cause for alarm was called The British Invasion. The Beatles took America by storm, creating a mass hysteria that equalled the Presley phenomenon of the previous decade. Record sales soared as did other Beatles related products including magazines, books, dolls, trading cards and some absolutely ridiculous items such as Beatle wigs. Anything remotely British became a commodity. British clothing styles, magazines such as FABulous and Rave, dance trends and even current British slang became all the rage.

An influx of British recording artists descended on American soil. Most of these performers had been weaned on American R&B and because of their verbal endorsement of black artists, many forgotten or overlooked rock pioneers enjoyed revitalized careers. On the other hand, the overwhelming popularity of the Brits caused the industry to quake, fearing that American acts would suffer brutal consequences. Supposedly, there was at one time a ban of sorts meant to keep the glut of British product at a prescribed level. A new backlash of American recordings retaliated against the tidal wave of British rock.

The overall result of The British Invasion was the instigation of a healthier, more competitive international recording industry and the somewhat sluggish American music scene was given a much needed shot in the arm. Brits had taken American music, revitalized it, fused it with fresh uninhibited creativity and gave it back to its rightful owners. Rock and roll had been re-energized.

THE TEDDY BOYS

Circa 1959, a rock purist faction calling themselves Teddy Boys or Teds appeared throughout Britain. They favoured no nonsense rock and roll, rockabilly and skiffle, clinging to it stubbornly as styles changed. When American music stopped rocking during the 1959-1962 period, these lower class British kids turned defiantly to the roots of rock and roll. Noses were thumbed at pretty boy pop and watered down rock.

The Teds were followers of the Marlon Brando/James Dean school of style and attitude. Hairstyles were generally on the long side, greased up into elaborate pompadours with Elvis Presley style sideburns. The look included leather jackets, blue jeans and heavy duty boots. If they were well off, they drove Harleys. The term "teddy boy," an old English expression describing a lower class tough had taken on a more defined categorization.

THE MODS AND ROCKERS

By 1964, two rival British youth factions had developed. Several skirmishes occurred at various clubs, later spreading to pre-arranged battle sites on beaches. The Rockers were the oldest of the gangs, having their beginnings in the 1950's as the Teds. They were hard core rock enthusiasts who had much in common with America's Hells Angels. The Mods (short for moderns) were trendy fashion fanatics who changed styles on a weekly basis. The definitive look for the male was shirts with button-down collars, skimpy collarless suits with hipster flared trousers, plastic macs (raincoats), Cuban heeled boots, dark glasses and helmet style haircuts. The girls, called "dollies" or "birds" sported long straight hairdos, heavy dark eye makeup, patterned stockings and short skirts which later evolved into mini skirts. Mods were followers of pop art and their music preferences included Motown, Soul and the abstract rock music of a band called The Who. They were pill poppers rather than drinkers. The Mods cruised the streets in their heavily mirrored scooters while the Rockers rode large bikes. The confrontations between the two groups beginning in March, 1964 on the beaches at Claxton, Essex made headlines all over the world and the peak period of all this foolishness was accurately portrayed in the 1979 film, "Quadrophrenia," featuring the music of The Who.

EARLY BRITISH ARTISTS - PRE-1963

TOMMY STEELE

SHIRLEY BASSEY

CLIFF RICHARD

THE SHADOWS

MR. ACKER BILK

HELEN SHAPIRO

JOHNNY KIDD & THE PIRATES

BILLY FURY

THE TORNADOES

MARTY WILDE

MATT MONROE

LIVERPOOL & THE MERSEY BEAT

"The Mersey Sound is the voice of 80,000 crumbling houses and 30,000 people on the dole"
The Daily Worker, 1963

The gritty little seaport of Liverpool, two hundred miles northwest of London is a dismal, colourless area of Britain. It is difficult to imagine that this tough working class city could ever have been brought to world attention as a major music centre. However, The Beatles put Liverpool on the lips of every pop music fan from New York to Katmandu.

Being a port city, Liverpool played host to a great variety of visitors from all over the world. And when rock and roll took the world by storm, Liverpudlians embraced the music wholeheartedly. At a time when the American rock scene had cooled down between 1959 and 1962, Liverpool went rock and roll crazy. While the rest of the English speaking world had succumbed to the antiseptic pop recorded by clean cut teen idols, Liverpool defiantly continued her love affair with hard core rock and roll and rhythm and blues. Many Liverpudlians who worked on the Cunard ships, often called "Cunard Yanks," brought back hard-to-find discs by their favourites, especially Eddie Cochran and Gene Vincent. These imported records formed a basis for the distinctive Liverpool sound. The rough and tumble lower middle class lifestyle of the locals merged exceedingly well with rock and roll. Groups literally sprung up everywhere. Many local clubs originally catering to a jazz clientele quickly converted to rock venues and young Liverpudlians (or "scousers" as they preferred to be called) lined up for hours just to support the new bands. Major rock venues included The Iron Door, Litherland Town Hall, The Casbah, The Jacaranda and of course, The Cavern.

In July of 1961, Bill Harry became the editor of the city's first music periodical, "The Mersey Beat," named after the Mersey River. Everyone was getting into the beat scene in one way or another. However, the Liverpool beat boom was tidily dismissed by London critics as something rather quaint and terribly provincial. One haughty critic gave it six months. Liverpudlians knew better.

THE CAVERN

On Jan. 16, 1957, Allan Styner opened The Cavern Jazz Club in the basement of an old warehouse situated at #10 Mathew Street in Liverpool. Ray McFall took over in 1959, eventually changing its musical format to a combination of jazz and rock. It immediately became the "in" spot for Liverpool music fanatics. The first beat group to play there, Rory Storm & The Hurricanes debuted on May 25, 1960. As the reputation of the club spread, it became painfully obvious that its success was based on the drawing power of rock acts. From then on, jazz was quickly abandoned. The venue showcased local artists plus offered concerts featuring name acts such as The Shadows, Wilson Pickett, The Who, Ben E. King and The Rolling Stones. It stayed open seven days a week and featured two shows daily. Aside from regular nightime performances, special shows were scheduled at noon for the kids on their work or school breaks. Disc jockey/mc Bob Wooler (1925 - Feb. 8, 2002) who also wrote a column for The Mersey Beat welcomed both daily and evening audiences with his trademark opening line - "Welcome to all you cave dwellers. This is Bob Wooler giving you the venue with the menue that's the mostest."

It was a dark, dank, smelly place but the atmosphere was absolutely electric. Beatles manager Brian Epstein wrote glowingly of its charm in his book, "Cellar Full Of Noise," and pop singer Petula Clark glamourized it in her hit recording, "I Know A Place." As news of Liverpool's exciting beat scene spread, the fame of The Cavern became legendary.

The coffee bar attendant at the club, Priscilla White started singing with several groups including The Beatles, gaining local notoriety as "Swingin' Cilla." Later, she rose to national stardom as Cilla Black.

Between March 21, 1961 and Aug. 3, 1963, The Beatles occupied The Cavern's tiny stage a total of 292 times. On Nov. 9, 1961, Brian Epstein first witnessed the hypnotic effect they created, immediately offering his services as their manager.

After most of the local artists had been lured away from Liverpool by major record companies, The Cavern was unable to afford their fees on a regular basis. By Feb. 28, 1966, in debt for $15,000, its doors were closed. Restauranteur Joseph Davey reopened it on July 23, 1966, but it became painfully obvious that the glory days were over. On May 27, 1973, it was moved across the street. In 1973, the original club was demolished by British Rail, its stage broken into thousands of pieces to be sold to Beatles fans. Number 10 Mathew Street became a parking lot. Later, Cavern Walks Shopping Centre was built and the complex contains the New Cavern Club.

HAMBURG, GERMANY

Liverpool's sister city in Germany had been experiencing its own considerable beat boom. The basic difference was that Hamburg imported most of its live attractions from Britain, particularly from Liverpool. Many Merseyside acts got experience and exposure playing at Hamburg clubs like The Kaiser-keller, The Top Ten and the famous Star Club managed by Horst Fascher. Hamburg was the Las Vegas of Europe with its gambling, drugs, prostitution and strip and sex clubs. Of course, the addition of rock and roll contributed to its overall excitement and rather heady atmosphere. Liverpool's Beatles with their cheeky, irreverent humour and hard edge rock and roll achieved their first taste of stardom in Hamburg.

BRIAN EPSTEIN

THE EPSTEIN ROSTER OF STARS

THE BEATLES

GERRY & THE PACEMAKERS

BILLY J. KRAMER & THE DAKOTAS

CILLA BLACK

OTHER LIVERPOOL ARTISTS

THE SEARCHERS

THE SWINGING BLUE JEANS

THE MERSEYBEATS

SWINGING LONDON

As Liverpool's initial notoriety as the new mecca for British rock grew, several new London bands like The Dave Clark Five jumped on the highly marketable pop/rock bandwagon. However, the great majority of London groups featured strong R&B and blues influences. Competition with Liverpool was definitely out of the question. London's white blues bands considered themselves much more sophisticated and legitimate. After all, London was the centre of everything British.

The club scene was at its peak and now with all eyes focussed on British music thanks to The Beatles, London's rock community braced itself for world attention. New hard-core rock venues such as The Marquee (Waldour Street) and The Crawdaddy served up tasty music menus featuring far out groups like The Who, The Pretty Things and Manfred Mann.

As America became enamoured of British pop culture, it became obvious that almost anything remotely British could be packaged and marketed successfully. British fads, fashions, hairstyles, art and especially beat music dominated the international market. The fashion industry in particular enjoyed considerable attention and almost overnight a previously obscure row of tiny boutiques situated on London's Carnaby Street became the epitome of everything mod. Designer Mary Quant created the mini skirt and a pencil thin model nicknamed Twiggy, attired in a mini dress emblazoned with a Union Jack motif skyrocketed to fame as one of the world's most sought after models. Pop art and geometric art came into vogue. Edwardian styled clothes for the male was a hot new idea. Almost everything complimented and promoted the British music industry.

The Liverpool sound was easily identifiable with its strong vocal harmonies and pop/rock platform, but the eclectic London beat scene presented a much wider variety of styles and sounds. Each band or artist projected a distinct image and attitude attributed to their specific music style. Although the majority of the London groups displayed R&B roots, it would be quite difficult to pinpoint any other factors leading to a truly distinct London sound.

MAJOR LONDON GROUPS

ADAM FAITH & THE ROULETTES

THE ROLLING STONES

THE DAVE CLARK FIVE

PETER & GORDON

THE KINKS

THE YARDBIRDS

THE WHO

MANCHESTER

Just thirty five miles north of Liverpool, the industrial city of Manchester was the base for an incredible number of beat groups. Like Liverpool, the Manchester sound consisted of strong pop vocal harmonies served over gritty guitar. Many of the local artists became world class entertainers.

THE HOLLIES

FREDDIE & THE DREAMERS

HERMAN'S HERMITS

WAYNE FONTANA & THE MINDBENDERS

OTHER MAJOR BRITISH GROUPS

THE ANIMALS/ERIC BURDON

MANFRED MANN

THE ZOMBIES

THE MOODY BLUES

THEM

THE SPENCER DAVIS GROUP

THE SEEKERS

THE TROGGS

THE SMALL FACES

CREAM

THE BEE GEES

BRITISH MALE VOCALISTS

TOM JONES

DONOVAN

LONG JOHN BALDRY

ENGELBERT HUMPERDINCK

BRITISH FEMALE VOCALISTS

PETULA CLARK

DUSTY SPRINGFIELD

CILLA BLACK

LULU

MARIANNE FAITHFULL

SANDIE SHAW

YANKS IN ENGLAND

When The British Invasion began, figuring turn about was fair play, several American acts took advantage of the situation and headed for England. There, they achieved success and eventually broke into the American market.

P. J. PROBY

THE WALKER BROTHERS

A SELECTED LISTING OF OTHER BRITISH INVASION HITS

ALSO SEE

BIBLIOGRAPHY