SUTCH A LIFE (1940 - 1999)




“Screaming Lord Sutch 3rd Earl of Harrow” he had no connection with the peerage of course. He was born David Edward Sutch, at New End Hospital, in Hampstead, North West London, on 10th November 1940 from William & Annie Sutch who named him after 'David Copperfield' from Charles Dicken's novel. He and his mother moved from Killburn to South Harrow in Northwest London in the early 50s.

After he left school in 1956, he had various jobs: sheet metal worker, plumber's apprentice, spanner boy for a garage mechanic then self employed and part-time window cleaner.

In 1959, Dave Sutch started to perform at the Two I's Coffee Bar in Old Compton Street, Soho, London.

There Sutch decided to swap his former Elvis Presley look-alikes apparel for the 'wild man of Borneo' look after he saw a pair of old buffalo horns for sale at 2/- in a place called "Jack's Second Hand Shop" and then came on stage disguised with buffalo horns glued to a crash helmet and his aunt's leopard skin jacket, which he tored the sleeves off.

Building a rock horror act, David Sutch renamed himself with the stage name "Screaming Lord Sutch" inspired by the black american Rock sorcerer "Screaming Jay Hawkins". Now he wore 18 inch long hair, he would pull it up over his head and wore a top hat during the day. He actually had very long hair before that would eventually become the mood.

By 1963, after the "Profumo Affair" Screaming Lord Sutch decided to form a political party The 'Sod Em All Party' whose main campaign issue was lowering the voting age from 21 to 18.

Therefore he unsussesfully stood for 39 elections, leading various other lunatic parties such as The 'Go To Blazes Party' and the Monster Raving Loony Party, and campaigning for nutty causes such as knighthoods for the Beatles, passports for pets, or providing heated toilet seats for all pensioners.

During his long career Screaming Lord Sutch was backed by many famous bands: the Playboys (of Vince Taylor), the Fleerekkers, The Echoes (later with Dusty Springfield), The Ravers (of Dave Anthony), the Tridents (with Jeff Beck), the Others (of Derry Wilkie), the Loving Kind (with Noel Redding), his Heavy Friends, Rock Island Line, Shotgun, the Houseshakers, the Rapiers, the Nightriders (of Mike Sheridan) and many others. Although his most famous backing band was, of course, the Savages who stayed by his side more than 30 years.

Screaming Lord Sutch came on stage in a “Big Black Coffin” carried by the Savages, dressed in animal skins and stone-age gear, before to front an audience with a repertory of horror songs. His most popular and well known of number was “Jack The Ripper” during which he was chasing the pianist with a knife. Many of his keyboardists ended up falling off stage and then in hospital. Later he used an huge axe instead and keyboardists were replaced by saxophonists. And his music sound evolved from loud Rock’n’Roll and R’n’B to more Soul oriented music.

However his band was famous above all for its musical innovations such as using fuzz guitar effects or very loud drummings sounding like a cannon.

From 1961, he had released with the Savages more than 20 singles and 4 original albums in Britain but never achieved a hit. His most well known song was his tribute to “Jack The Ripper”.

Suffering with long-term and struggling with major debts, Dave Sutch took his own life on the 16 June, 1999, aged just 58.

Screaming Lord Sutch - London - 1972

Screaming Lord Sutch - Jack The Ripper (live 1964)

JOE MEEK - SCREAMING LORD SUTCH - DOCO PT4

JOE MEEK - SCREAMING LORD SUTCH - DOCO PT3

JOE MEEK - SCREAMING LORD SUTCH - DOCO PT2

JOE MEEK - SCREAMING LORD SUTCH - DOCO PT1

ANECTODES & MEMORIES







A Funny anecdote in Finland by Wilde Bob Burgos

LAST GIG, HARROW, 1997, by Paul Green

HARTLEPOOL, 1965
In The middle of The Bewildered Crowd


Colin Solman, drummer and co/producer of the "Alive & Well" album, remembers:

"In 1979, Tim Green and I were based in Hamburg and touring with Mungo Jerry, when Tim got a call from Dave and the suggestion was made for us to get a band together and do some gigs with him. One of the venues was a longer stint in a huge circus tent put up right next to the Berlin Wall, called the Tempodrom. Dave had a devoted fan club in Berlin. They all used to turn up in Lord Sutch t-shirts and sang along with whatever Dave decided to sing. We were part of a show they called "A revue of the 60's", which not only featured music, dancers, magicians and circus artistes, but also had Buster Edwards on, describing his part in the Great Train Robbery. The whole thing had this feel about it, like back in the flower power days and the Roundabout at Chalk Farm, really raw stuff. We used to hang out with Buster a lot, who in fact was a great bloke with a heart of gold. We often had to carry him back to the hotel though....


I know that Dave was in his element. I remember he always used to bring his own tea machine with him, complete with teabags and a flask full of milk. When I asked him at our hotel why he took milk everywhere with him, he said "Cos milk is like gold dust in Germany, they only sell it in tiny tins." Because he never saw any bottles of milk anywhere and most Germans put Carnation in their coffee, he was under the impression that milk must be expensive, so he brought his own. It was on this tour by the way, that he began thanking Germans for services rendered with the expression "Donkey shit" - his version of dankeschoen!


Sometime during the tour, Dave mentioned wanting to do a new album, so we decided to sort it out. A friend of mine in Hamburg was just building a new recording studio and we asked him if we could do a deal. He was more than chuffed at recording an album with Dave and so Dave, Tim and I began selecting material. Dave wanted to revamp some of his old stuff, but also thought it would be good to do some brand new songs. Tim and I spent a couple of weeks writing some new numbers and presented them to Dave, who really liked them. We recorded two of them for the new album: "Murder in the Peep Show" and "We're only here for the Blood". While we were in the studio, which was located very near to the notorious Reeperbahn, several big name artists were in Hamburg doing gigs, so I decided to go backstage and ask some of them if they had the time and would fancy making a guest appearance on Dave's latest album. I had spoken to Richie Blackmore one night in the Top Ten Club, as I thought it would be great to get one of Dave's old heavy friend's on the album, but he had to leave for a tour at the time we got into the studio.


So I asked Rick Nielsen, the guitarist with Cheap Trick (appearing at the newly re-opened Star Club), who just said: "Shit, yeah. Right after the gig? Sure thing. Can you bring me back to the hotel after?" That said, we drove him and his guitar in our old beaten up VW Beetle to the studio around midnight, he plugged in and played on almost all of the tracks, including some we just improvised in the studio. Rick was great and so enthusiastic and he and Dave got on like a house on fire. When we drove him back to his hotel (at about 6 am!), he just asked us to work out the legal side of his appearance and said how much he had enjoyed it.

The next night, Pat Travers and his band were in town, so we did the same thing again, only this time, Pat's bassist, Mars Cowling also wanted in on it, so, after the gig, we drove both of them down to the studio. Pat began playing this riff, we joined in - all live stuff - and "Travers Blues" evolved, which is also featured on the album.


Some of the photos on the back of the album sleeve we took in Hamburg. there was an exhibition on at a museum about ghouls and vampires, so we though it would make great backdrop. When the staff saw Dave dressed up in his usual attire and wielding a knife, they told us to sod off, but we still managed to get a few pictures done. Theres also a picture of Dave, Tim and I with Herbert, our recording engineer, in front of Dave's London home.


We had a whole bunch of talented people work on the album with us, like Klaus Voormann, who should be known to many and a weird, but cool French saxophonist called Richard Prut. We found a record company that went by the inspired title of Music Distributor, and their label, Babylon. Unfortunately, they had few outlets, so we didn't exactly go gold, but it was definitely another milestone in the life of one of our most illustrious artists - Lord Sutch!


I remember hearing of his death - it was really sad. He was such a funny fella, but there was sadness deep down inside too. Tim says he never got over the loss of his mum and that he probably decided to follow her. Wherever he is now, I bet he's got a shit-hot band."



Chris "Pluck", lead guitarist for the Undertakers, remembers:


"Happy memories of the Savages. I think it was 1998 or 1999 and I was playing in Hamburg as lead guitarist for the Undertakers. After wandering the streets of Hamburg for hours I decided to go downstairs to a little cellar club for a beer. The Undertakers carried on exploring and downstairs I was greeted by the Savages ( Sutchy was resting) who made me very welcome. Later on my band returned and a great night was had by all. We were all playing at a large venue in Hamburg the following night but we partied to the wee small hours. The pub was called the Rattenkeller and the Undertakers always visited it whenever we returned to Hamburg.
Great memories, have a good gig y'all,"
Chris



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Press Cuttings




LORD SUTCH & HIS HEAVY FRIENDS (ATLANTIC 2400) - 1970



· Release Date: 1970
· Genre & Styles: Rock & Roll, Hard Rock
· Label: Atlantic
· Ref. # Cat: Atl 2400
· Recording Date: 1969
· 12 Tracks
· Total Time:
35:15


12 Tracks
1. Wailing Sounds (Jimmy Page, Dave Sutch) (2:38)
2. 'Cause I Love You (Jimmy Page , John Bonham, Dave Sutch) (2:46)
3. Flashing Lights (Jimmy Page, Dave Sutch) (3:14)
4. Gutty Guitar (Dave Sutch) (2:33)
5. Would You Believe (Jay Cee) (3:20)
6. Smoke & Fire (Dave Sutch) (2:38)
7. Thumping Beat (Jimmy Page, Dave Sutch) (3:07)
8. Union Jack Car (Jimmy Page, Dave Sutch) (3:03)
9. One for You, Baby (Dave Sutch) (2:44)
10. L-O-N-D-O-N (Dave Sutch) (2:56)
11. Brightest Light (Dave Sutch , Jay Cee) (3:57)
12. Baby, Come Back (Jimmy Page, Dave Sutch) (2:31)

Credits
· Screaming Lord Sutch (Main Performer as Vocalist),
· Jimmy Page (Producer, Guitar) on Tracks #1-2-3-7-8-12
· Jeff Beck (Guitar) on Tracks #4-5-11
· Kent Henrey (Guitar) on Tracks #6-9-10
· Daniel Edwards (Guitar, Bass) on Tracks #1-2-3-6-7-8
· Noel Redding (Bass) on Tracks #8-9-10
· Martin Kohl (Bass) on Tracks #6-8-9-10
· Rick Brown (Bass) on Tracks #4
· Nicky Hopkins (Keyboards) on Tracks #4
· Carlo Little (Drums) on Tracks #4
· Bob Metke (Drums) on Tracks #6-9-10
· John Bonham (Drums) on Tracks #1-2-3-7-8-12
· Thom Caccetta (Engineer)



"Screaming" Lord Sutch first released his debut album in America in February 1970, where it sold 70,000 copies in one month; then in the U.K. in May.
The sleeve shows Dave Sutch posing on his Union Jack painted Rolls Royce drivin'.
In this is album he assembled a plethora of great rock musicians like Jimmy Page, Jeff Beck, John Bonham, Noel Redding, Nicky Hopkins... his "Heaviest Friends".

It was recorded during his 2nd stay in America from early 1968 to late 1969.
At that time, Dave Sutch traveled across America with his colorful Rolls Royce, playing at The Scene, The Cheetah, The Hullababaloo (Clubs in New-York, New England), and appearing on various TV shows such as Johnny Carson or Dick Clarke & Merv Griffin, backed up by The Beautiful Quality, including Ron Kellerman, who was the vice president of the Jerry Lee Lewis fan club.

Late October 1968, Sutch and Kellerman were in New York to see Led Zeppelin who were touring America too.
2 weeks later, on 10 November 1968 - the day of his 28th birthday - Dave Sutch started to write several of the tracks which would appear on this LP. He then enlisted guitarist Jimmy Page to help with his project. However the recording sessions only held from 24 April 1969 to 5 May 1969, at the Mystic Sound Studio in Los Angeles, California. Somehow, Page found the time between Led Zeppelin sessions at Mirror Sound, LA, to do just that, and he enlisted drummer John Bonham and bassist Daniel Edwards to bang along. They played on 6 numbers including "Baby Come Back", which was a transposed remake of Roy Head's "Treat Her Right." Also participating in the recording sessions were Noel Redding and Jeff Beck playing with 3 former members of the Savages: keyboardist Nicky Hopkins, drummer Carlo Little and bassist Rick Brown. "Gutty Guitar" was obviously recorded in 1964 by the original Savages minus Bernie Watson but Jeff Beck instead. In fact most of the recorded songs during this jam session were remakes. Jimmy Page and others accepted to play on these sessions with the promise of not to credit their names.

After the U.K. release of "Lord Sutch & Heavy Friends" in May 1970, Jimmy Page said that he'd been duped as to exactly what the album would be like. Five of the 12 songs were credited to himself, not only credited as composer, also as a producer, but Page insisted that he wasn't involved in any songwriting.


Jimmy Page:
"Last time we were in L.A., he came to me and said, 'I wish you could help me out.I've got a chance to make an album, and I've been in the business for 12 years.'
... I said, 'Look, I'll help you if I can.' "

Chris Welch wrote in the Melody Maker on April 25, 1970:

"With Jimmy Page and John Bonham thundering away on several tracks, it amounts to a bonus Zeppelinalbum."


Dave Sutch is quoted in the April 11, 1970, issue of the Melody Maker telling the reason why a plurality of the songs on his album consisted of Page-Sutch "originals:
"I made sure that we didn't make the mistake that all the other rock groups have made [in covering] old songs like 'C'mon Everybody,' 'Great Balls of Fire' and 'Blue Suede Shoes.' That doesn't sell, because everybody's got 10 versions of it already. What we've done is modern rock 'n'roll with the real Zeppelin sound, that driving beat with loads of excitement. That Bonham is a tremendous drummer."

Jimmy Page is quoted in the Oct. 11, 1970, issue of Rock magazine:
"It was all fixed that I'd go down there and just do a bit, so we went down andplayed. And I just did some backing tracks to numbers like 'Good Golly MissMolly' and 'Roll Over Beethoven.' ... So, to cut a long story short, [Sutch]rewrote all the tunes."

Jimmy Page disavowed all responsibility for any of the guitar solos onthe album: "I didn't do any solos. No solos at all. I did a littlebit of wah-wah on one track ['Baby Come Back'], but I didn't do the solo inthe middle, which isn't a wah-wah thing; somebody else put that on....But - and this is where the criminal side of it comes in - he [Dave Sutch]didn't put 'Extra guitar: So and So' or 'Lead guitar played by So and So.' Heput 'Guitar....' So everybody thought, 'Oh, Jimmy Page played thatheap of crap,' and it became more than an embarrassment....He also wrote me in as producer, which was very nice of him. I wasn'tinterested in that. I just went down to have a laugh, playing some old rock'n' roll, a bit of a send-up. The whole joke sort of reversed itself andbecame ugly."























Gallery, Screaming Lord Sutch & Loonymaries...






Screaming Lord Sutch & The Savages in 1960

Screaming Lord Sutch & The Savages in 1961

Screaming Lord Sutch & The Savages in 1962

Screaming Lord Sutch & The Savages in 1963-64

Screaming Lord Sutch & The Savages in 1965

Screaming Lord Sutch & The Savages in 1966

Screaming Lord Sutch & The Savages in 1967

Screaming Lord Sutch & The Savages in 1968-69

Screaming Lord Sutch & The Savages in 1970

Screaming Lord Sutch & The Savages in 1971

Screaming Lord Sutch & The Savages in 1972

Screaming Lord Sutch & The Savages in 1973-74

Screaming Lord Sutch & The Savages in 1975

Screaming Lord Sutch & The Savages in 1976-77

Screaming Lord Sutch & The Savages in 1979

Screaming Lord Sutch & The Savages in 1980

Screaming Lord Sutch & The Savages in 1981

Screaming Lord Sutch & The Savages in 1982

Screaming Lord Sutch & The Savages in 1983

Screaming Lord Sutch & The Savages in 1986

Screaming Lord Sutch & The Savages in 1988

Screaming Lord Sutch & The Savages in 1990-1999

Wild Bob's Bands, Black Cat, The Shotgun Savages...

Screaming Lord Sutch & The Savages in 1970s
















Interviews

BBC Online - On Tuesday, April 6, 1999

"Screaming Lord Sutch - A Loony Remembered" - In April 1993

by Richie Unterberger

ROCK & HORROR (ACE CHA 65/CDCHM 65) 1982


· Release Date: 1982
· Genre & Style: Rock & Roll
· Label: Ace
· Ref: CHAc 65/CDCHM 65
· Recording Date: 1979 - 1982
· 12 Tracks

12 Tracks
1. Screem & Scream [1982] (1:55)
2. All Black & Hairy [1981] (2:33)
3. Jack the Ripper [1981] (3:13) (Lemroy Haggins)
4. Monster Rock [1982] (2:25)
5. Rock & Shock [1982] (2:02)
6. Murder in the Graveyard [1982] (3:03)
7. London Rocker [1981] (2:17)
8. Penny Penny [1982] (3:05)
9. Rockabilly Madman [1982] (3:33)
10. Oh Well [1981] (1:56)
11. Loonabilly [1982] (1:52) (Wild Bob Burgos)
12. Go-Berry-Go [1982] (2:30)


Credits
· Screaming Lord Sutch (Producer, Main Performer as Vocalist)
· Angi Antinori (Guitar) on Tracks #7-10
· Terry Clemson (Guitar) on Tracks #2-3
· Ray Neale (Guitar) on Tracks #1-4-5-6-8-9-11-12
· Iain Terry (Guitar) on Tracks #1-4-5-6-8-9-11-12
· Tony Dangerfield (Bass) on Tracks #7-10
· Keith Evans (Bass) on Tracks #2-3
· Rob Murly (Bass) on Tracks #1-4-5-6-8-9-11-12
· Freddy Fingers Lee (Piano) on Tracks #1-4-5
· Matthew Fisher (Piano) on Tracks #12
· Nigel Harding (Keyboards) on Tracks #6
· Rich Hogan (Piano) on Tracks #8-9-11
· Lou Martin (Piano) on Tracks #2-3
· Rod De'Ath (Drums) on Tracks #2-3
· Mac Poole (Drums) on Tracks #7-10
· Wild Bob Burgos (Drums) on Tracks #1-4-5-6-8-9-11-12
· Sid Phillips (Sax) on Tracks #2-3
· Tony Hall (Sax) on Tracks #2-3
· Brian Junipter (Sax) on Tracks #2-3
· Darnell Kellerman (Sax) on Tracks #8-9-11
· Pete Thomas (Sax) on Tracks #1-4-5-6-8-9-11-12
· Duncan Cowell (Post Production)
· Marjory Van Mackelenbergh (Package Design)




















ALIVE & WELL (BABYLON B 80010, GERMANY) - 1980

· Release Date: 1980
· Genre & Styles: Rock & Roll, British Trad Rock
· Label: Babylon
· Ref: B 80010
· Recording Date: 1979
· 8 Tracks

8 Tracks
1. Boney Maroney
2. We're Only Here For The Blood
3. Bye Bye Johnny
4. Jenny Jenny-Keep A Knockin'
5. Murder In The Peep Show
6. Hog For You Baby (Leiber & Stoller)
7. Don't Ya Just Know It
8. Wild Thing/Rock With Me
9. Disco Crusher
10.Travers Blues

Credits
· Screaming Lord Sutch (Producer, Main Performer as Vocalist)
· Tim "Jimela" Green (Guitar)
· Rick Nielsen (Guitar)
· Pat Travers (Guitar)
· Pete Cowling (Bass)
· Klaus Voormann (Bass)
· Detlev Reshoft (Keyboards)
· Richard Prut (Saxophone)
· Colin Solman (Drums)



Colin Solman, drummer and co/producer of the "Alive & Well" album, remembers:

"In 1979, Tim Green and I were based in Hamburg and touring with Mungo Jerry, when Tim got a call from Dave and the suggestion was made for us to get a band together and do some gigs with him. One of the venues was a longer stint in a huge circus tent put up right next to the Berlin Wall, called the Tempodrom. Dave had a devoted fan club in Berlin. They all used to turn up in Lord Sutch t-shirts and sang along with whatever Dave decided to sing. We were part of a show they called "A revue of the 60's", which not only featured music, dancers, magicians and circus artistes, but also had Buster Edwards on, describing his part in the Great Train Robbery. The whole thing had this feel about it, like back in the flower power days and the Roundabout at Chalk Farm, really raw stuff. We used to hang out with Buster a lot, who in fact was a great bloke with a heart of gold. We often had to carry him back to the hotel though....


I know that Dave was in his element. I remember he always used to bring his own tea machine with him, complete with teabags and a flask full of milk. When I asked him at our hotel why he took milk everywhere with him, he said "Cos milk is like gold dust in Germany, they only sell it in tiny tins." Because he never saw any bottles of milk anywhere and most Germans put Carnation in their coffee, he was under the impression that milk must be expensive, so he brought his own. It was on this tour by the way, that he began thanking Germans for services rendered with the expression "Donkey shit" - his version of dankeschoen!


Sometime during the tour, Dave mentioned wanting to do a new album, so we decided to sort it out. A friend of mine in Hamburg was just building a new recording studio and we asked him if we could do a deal. He was more than chuffed at recording an album with Dave and so Dave, Tim and I began selecting material. Dave wanted to revamp some of his old stuff, but also thought it would be good to do some brand new songs. Tim and I spent a couple of weeks writing some new numbers and presented them to Dave, who really liked them. We recorded two of them for the new album: "Murder in the Peep Show" and "We're only here for the Blood". While we were in the studio, which was located very near to the notorious Reeperbahn, several big name artists were in Hamburg doing gigs, so I decided to go backstage and ask some of them if they had the time and would fancy making a guest appearance on Dave's latest album. I had spoken to Richie Blackmore one night in the Top Ten Club, as I thought it would be great to get one of Dave's old heavy friend's on the album, but he had to leave for a tour at the time we got into the studio.


So I asked Rick Nielsen, the guitarist with Cheap Trick (appearing at the newly re-opened Star Club), who just said: "Shit, yeah. Right after the gig? Sure thing. Can you bring me back to the hotel after?" That said, we drove him and his guitar in our old beaten up VW Beetle to the studio around midnight, he plugged in and played on almost all of the tracks, including some we just improvised in the studio. Rick was great and so enthusiastic and he and Dave got on like a house on fire. When we drove him back to his hotel (at about 6 am!), he just asked us to work out the legal side of his appearance and said how much he had enjoyed it.

The next night, Pat Travers and his band were in town, so we did the same thing again, only this time, Pat's bassist, Mars Cowling also wanted in on it, so, after the gig, we drove both of them down to the studio. Pat began playing this riff, we joined in - all live stuff - and "Travers Blues" evolved, which is also featured on the album.


Some of the photos on the back of the album sleeve we took in Hamburg. there was an exhibition on at a museum about ghouls and vampires, so we though it would make great backdrop. When the staff saw Dave dressed up in his usual attire and wielding a knife, they told us to sod off, but we still managed to get a few pictures done. Theres also a picture of Dave, Tim and I with Herbert, our recording engineer, in front of Dave's London home.


We had a whole bunch of talented people work on the album with us, like Klaus Voormann, who should be known to many and a weird, but cool French saxophonist called Richard Prut. We found a record company that went by the inspired title of Music Distributor, and their label, Babylon. Unfortunately, they had few outlets, so we didn't exactly go gold, but it was definitely another milestone in the life of one of our most illustrious artists - Lord Sutch!


I remember hearing of his death - it was really sad. He was such a funny fella, but there was sadness deep down inside too. Tim says he never got over the loss of his mum and that he probably decided to follow her. Wherever he is now, I bet he's got a shit-hot band."


LORD SUTCH & HEAVY FRIENDS: HANDS OF JACK THE RIPPER (ATLANTIC K 40313) - 1972


· Release Date: 1972
· Genre & Styles: Rock & Roll, British Trad Rock
· Label: Wounded Bird, Atlantic
· Ref : K 40313
· Recording Date: April 12th, 1970
· 8 Tracks
· Total Time: 37:05

8 Tracks
1. Gotta Keep A-Rocking (Dave Sutch) (4:42)
2. Roll Over Beethoven (Chuck Berry) (2:37)
3. Country Club (Dave Sutch) (3:20)
4. Hands of Jack the Ripper (Dave Sutch) (9:38)
5. Good Golly Miss Molly (Robert Blackwell/John Marascalco/Charles Calhoun) (5:13)
6. Great Balls of Fire (Otis Blackwell , Jack Hammer) (4:19)
7. Bye Bye Johhny/Johnny B. Goode (Chuck Berry) (4:17)
8. Tutti Frutti Medley: Long Tall Sally/Jenny Jenny/Keep A-Rockin'/Jenny J (5:12) (Richard Penniman, Robert "Bumps" Blackwell, Enotris Johnson, Dorothy LaBostrie, Joe Lubin)

Credits
· Screaming Lord Sutch (Producer, Main Performer as Vocalist)
· Annette & Victor Brox (Vocals)
· Brian Keith (Trombone,Vocals)
· Sid Phillips (Saxophone)
· Ritchie Blackmore (Guitar)
· Nick Simper (Bass)
· Noel Redding (Bass)
· Matthew Fisher (Organ, Piano)
· Carlo Little (Drums)
· Keith Moon (Drums)
· Vic Maile (Producer, Engineer)


On 12 April 1970, Screaming Lord Sutch invited former members of the Savages to a jam at The Country Club, Hamstead, London: Ritchie Blackmore on guitar, Nick Simper on bass, Matthew Fisher on organ, Brian Keith on trombone and Carlo Little on drums. Blackmore had just finished a 5-date tour of Scotland with Deep Purple. Simper, who had been elbowed from this band the previous Summer, didn’t want to do it… Periodic accompaniment was provided by other "Heavy Friends" such as Spencer Davis of The Spencer Davis Group, Keith Moon of The Who, Annette & Victor Brox or Saxophonist Sid Phillips aka "Sid Berry" (ex Cliff Bennett's Rebel Rousers). They were all between the Hands Of Jack The Ripper...

Caroline Boucher (Disc): "At The Country Club, the band was Brian Keith of Plastic Penny on trombone, Sid Berry (ex Cliff Bennett) on sax, Spencer Davis on guitar, Ritchie Blackmore and Nick Simper, with Matthew Fisher on organ and Carlo Little on drums. Periodic accompaniment was provided by Keith Moon after 2 hours of old rock numbers… Lord Sutch took the stage just after 9. He clearly had no intention of running an expensive band of Heavy Friends quality for live shows following this one-off. Those who attended future gigs hoping to see the star names from his LP may not have been best pleased. People turned up in droves to watch Screaming Lord Sutch chase members of an anonymous backing group around the stage with a mop."

Steve Rosen (Guitar Player): How did that post-Sutch album, Hands Of Jack The Ripper, happen?
Ritchie Blackmore: "Sutch phones me up and said "Do you fance playing tomorrow night?" I agreed and I came down with [keyboardist] Matt Fisher of Procol Harum, and we did just a night of playing. And I saw the recording equipment and thought, "He's doing it again." And he said here's $500 for playing tonight."