An alternate version of the Billy Bragg classic coupled with scenes from Tony Richardson’s A Taste of Honey (1961) featuring Rita Tushingham
Music
The Day Fairport Convention’s Bus Crashed, Killing Martin Lamble
May 12, 1969 bus crash killed Fairport Convention drummer Martin Lamble and severely injured other members of the group.
As the summer of 1969 approached, the future looked bright for Fairport Convention, as their second album, What We Did on Our Holidays, expanded the band’s audience with a more rock-inflected version of their folk sound. But an awful tragedy nearly destroyed the band just as all their hard work was starting to pay off.
In the early morning hours of May 12, as the group traveled back from a celebratory gig in Birmingham shortly after wrapping up work on their next album, their van veered off the road — and in the aftermath of the crash, Fairport Convention would never be the same. The wreck killed drummer Martin Lamble, who was just 19 at the time, as well as fashion designer and magazine columnist Jeannie Franklyn, who’d been dating guitarist Richard Thompson. Thompson suffered a broken shoulder and bassist Ashley Hutchings was sent to the hospital with assorted serious injuries, while guitarist Simon Nicol, who’d been sleeping on the floor of the vehicle when it went off the road, escaped with a concussion.
“Our road manager and sound guy, Harvey Bramham, did most of the driving although I’d do a bit to relieve him. On this particular gig, he’d been feeling peaky all day, quite unwell,” explained Nicol in a post on the Fairport Convention website. “I had a bad migraine so I wasn’t in a seat; I was stretched out on the floor with a blanket over my head trying to sleep off this terrible headache. When I woke up, the van was doing things which didn’t involve the wheels being in contact with the ground: when it stopped moving, I was the only one left. All the gear had gone out of the back and all the people had gone out through the windows and doors.”
With the release of their next album mere weeks away, the members of the group had to decide whether they could even carry on as a unit. “That was a big watershed, I think. In the aftermath, we thought a lot about what to do, whether to call it a day. It had been fun while it lasted but it took a definite effort of will to continue,” recalled Nicol. “It had given us a lot but now it had taken away a lot: was it worth it if it was going to cost people their lives?”
“We were totally fractured, in more ways than one,” Hutchings told the Guardian. “It seemed like I was in hospital for months. When I woke up at the side of the M1, I thought I’d lost my sight. As it was, it was just that both eyes were terribly cut and bruised, and eventually, that improved. But I had a broken nose, broken cheekbone, a lot of head injuries, a broken pelvis, a bad ankle injury. All of those things took a long time to heal. People were asking us about the future, but we couldn’t conceive of planning one.”
“We were very traumatized,” added Thompson. “And there was this feeling: ‘Should we carry on? Has the stuffing been knocked out of us?’ But eventually, we made a conscious effort. We got together and said, ‘Yes, we are carrying on.'” As Nicol put it, “We all felt psychologically traumatized as well as being damaged physically. But by the time Ashley’s face was back together and Richard’s bones were healing, we’d decided to rebuild the band and carry on.”
While Fairport Convention handled the last few bits of work to prepare their third LP, Unhalfbricking, for its July 1969 release, DJ John Peel hosted a benefit concert featuring Family, Pretty Things, and Soft Machine on May 25 to raise money for Lamble and Franklyn’s families. While they soldiered on, the pall of the accident continued to loom; as Hutchings later told the Guardian, he can’t even look at the cover of Unhalfbricking without thinking about the tragedy. “My memory of it is bound up with the terrible car crash. On the back cover we’re all eating around a table. The shirt and the leather waistcoat I’m wearing are what I had on when the crash happened. I can clearly remember them being bloodstained,” he explained. “You don’t forget things like that.”
In fact, although the group soon found a new drummer in Dave Mattacks and rebounded to create one of their most successful albums with Liege & Lief later that year, Hutchings was on his way out of the band. “I believe the crash hung over the band in unseen ways,” mused Nicol. “I think it was one of the unspoken reasons for the next big change, when Ashley decided to leave the band later that year after we had recorded Liege & Lief and relaunched the band to some fanfare and acclaim. Whatever the upfront reasons about musical differences and wanting to concentrate on traditional material, I think the accident was the underlying reason why Ashley felt he couldn’t continue with us.”
Fairport Convention’s lineup would continue to change quite a bit over the years, but aside from a hiatus between 1979-’85, they’ve continued to tour and record steadily — and although Nicol is the only original member left, he wouldn’t mind seeing the Fairport name continue after he’s gone. “I’d like Fairport to become the first band to be like a male voice choir, carrying on through changes of personnel but retaining its identity,” he wrote on the band’s site.
“After all, no one bats an eyelid about a brass band playing on long after all the original members are gone. Why shouldn’t there be a Fairport Convention in fifty or a hundred years?”
Source: The Day Fairport Convention’s Bus Crashed, Killing Martin Lamble
Review: Horror has rekindled my love affair with The Mekons
By Simon Coffey
UK Punks The Mekons were born in 1976, during 1970s crisis Britain, their resistance narrative was steeped in Cultural Marxism (think Democratic Socialism in the 21st Century) and shaped by music, art and literature.
Their Leeds-based collectivist neighbours were The Gang of Four, Delta 5, Scritti Politti and Fad Gadget, all were inspired by the Sex Pistols, some, like them, fell by the side, but the (Mighty) Mekons have kept the punk rock message of resistance in tenacious stead for almost 50 years!
50 years, well somethings have changed, with only two original members from The Mekons Story years (1977-82), Jon Langford and Tom Greenhalgh, along the way many have joined, including luminaries such as Lu Edmonds (Shriekback, Public Image Ltd and The Damned) and drummer – Steve Goulding (who played on The Cure’s Let’s Go to Bed, and Elvis Costello’s Watching the Detectives)

What hasn’t fallen by the wayside is The Mekons collective anarcho-communist sociopolitical resistance to the dissonant state of the world around them. Horror abounds with resistance to (British) Imperialism, arms dealing, geopolitical bullies (think Trump and Putin) and even the fascicle nature of modern-day punk rock (lazy love songs with flaccid-oomph).
Horror, The Mekons 20th (proper) album, their first in five years, and first on Fire Records, is not a million miles away from their 1978 (almost) smash hit Where Were You?, a Marxist love song, possibly the greatest punk rock love song ever written. But as the decades have passed The Mekons have adopted, adapted, consumed and revelled in musical genres, adding to their punk/post-punk origins from (English) folk, (early American) country and roots dub.
The Mekons have been teasing Horror since last year with singles You’re Not Singing Anymore, Mudcrawlers, War Economy and The Western Design (which leads Horror) being released online strategically since late 2024. As exemplars, these four offer wide-ranging glimpses into the diversity that inhabits the Mekons creative ID. Horror is almost a microcosm of 50 years of Mekon-ism. It’s switching lead male/female (Sally Timms crystalline tones are unsurpassed) vocals, harmonious-violin versus noise-guitar, voracious beats mirrored by gentle rhythms, the personal (Glasgow) versus the political (War Economy), all of which have created an album that rivals (or maybe compliments) the mighty two: The Quality of Mercy Is Not Strnen (1977) and The Edge of the World (1986)
Horror has rekindled my love affair with The Mekons, a fanboy, I am, of the The Mekons Story years and endeared by the Sin City (84-88) period, I am hopeful that Horror is a reason to keep the Red & Black flag flying.
Source: Mekons – Horror (Fire) 13th Floor Album Review – The 13th Floor
Horror is released on Friday, April 4th on Fire Records
Available on Limited Edition Red LP & CD
Fire Shop/Bandcamp deluxe bundle w/ tote bag + ‘Horror’ art cards
Picture This: St. Patrick’s Day at the movies
By Michael Stevenson
Happy St. Patrick’s Day, Hobbledehoys! Here’s your chance to bypass that dreadful “green beer” music playing at your local bar, and instead listen to some gorgeous compositions from a dozen-or-so Irish-inspired films, such The Grey Fox, The Quiet Man, Barry Lyndon, The Secret of Roan Inish, The Guard, and Calvary. And as the late night TV commercial would boast – “But, wait, there’s more!” – you’ll hear an offering from the One True 007, Sean Connery, who warbles a classic Disney movie tune that may leave you … ‘shaken. but not stirred.’
Composers covered in this 2-hour broadcast include the classically-trained Irishmen Shaun Davey and Patrick Cassady, as well as more than a few pillars of Irish Trad, notably The Chieftains and Donal Lunny.
As well as the above, you’ll hear a few delightful jigs and reels that will leave even a St. Paddy’s Day cynic getting reely jiggy!
This special St. Patrick’s Day broadcast of “Picture This” is hosted by friend to The Hobbledehoy and fellow grey fox, Mr. Wayne Cresser.


