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Memories of Leicester pordnsStoes1g228ml7h0 0i8i527lm9 u077u5Aiuu25a69uu6tth410227 · On 21 September 1949 tram No.80 emerges from "The hole in the wall" next to The Bell Hotel in Humberstone Gate. The Layland PDI bus No.251 entered service in 1946 and lasted a mere thirteen years whereas the tram, albeit modernised, was some 45 years old. The Tram Shelter reads "Humberstone Cars" and was the central loading point for that route.. — at (National Tramway Museum).

Brians Blog · Suggested for you · Eric Harvey · · Pop History – The Hollies. One of the most underrated groups of the sixties and early seventies, The Hollies were a big favourite at my school and down at the Youth club. Their latest hits were always on the Juke box. I personally, didn’t think they made a bad record, they kept up with the times for over a decade and always seemed fresh. The Hollies actually began life as a duo when Allan Clarke and Graham Nash met at primary school and were destined to become best friends. That was in the late fifties when the likes of Lonnie Donegan was ruling the charts with skiffle music. Clarke and Nash had a natural inborn talent and polished up their act by becoming a vocal and guitar duo loosely based on their idols the Everly Brothers. At that time they went under the name of Ricky and Dane Young. It was whilst using this name that they decided to team up with the Fourtones – a local band who had Pete Bocking on guitar, John ‘Butch’ Mepham on bass, Keith Bates on drums and Derek Quinn on Guitar. In 1962 Derek Quinn quit the band to join up and coming Freddie and the Dreamers. This prompted Clarke and Nash to leave and join another Manchester band known as The Delta’s, they had Don Rathbone on drums, Eric Haydock on bass guitar and Vic Steele on lead guitar. The Deltas had recently lost two band members, one of them being Eric Stewart who had joined another up-and-coming band called the Mindbenders. During this period, the group were managed and promoted by Michael Cohen, a music enthusiast and clothing retailer from Oldham It was in December 1962 that the Deltas first changed their name to The Hollies, they were playing at the Oasis club in Manchester and rumour has it that Eric Haydock had named them in relation to a Christmas holly garland. But later, in 2009 Graham Nash was being interviewed when he revealed that the group were named for their admiration for Buddy Holly. So, The principal members of the Hollies were Allan Clarke (b. April 5, 1942, Salford, Lancashire, England), Graham Nash (b. February 2, 1942, Blackpool, Lancashire), Tony Hicks (b. December 16, 1943, Nelson, Lancashire), Eric Haydock (b. February 3, 1943, Burnley, Lancashire—d. January 5, 2019), Bernie Calvert (b. September 16, 1943, Burnley), and Terry Sylvester (b. January 8, 1947, Liverpool, Merseyside). The band began their recording career in 1963, they relied heavily upon the R&B/early rock & roll covers that provided the staple diet for countless British bands of the time. The band quickly developed a more distinctive style featuring three-part harmonies, ringing guitars, and hook-happy material, penned by both outside writers (especially future 10cc member Graham Gouldman) and themselves. EMI producer Ron Richards signed the group after seeing them at the famous Cavern Club in Liverpool. Guitarist Vic Steele left before the first session, to be replaced by 17-year-old Tony Hicks. Drummer Don Rathbone only lasted for a couple of singles before being replaced by Bobby Elliott, who had played with Hicks in his pre-Hollies group, the Dolphins. The line-up changes were most fortuitous: Hicks contributed a lot to the group with his ringing guitar work and song writing, and Elliott was one of the very finest drummers in all of pop/rock. Although their first singles were R&B covers, the Hollies sounded much more at home with pop/rock material that provided a sympathetic complement to their glittering harmonies. They ran off an awesome series of hits in the U.K. in the '60sTheir first hits in the United Kingdom, in 1963–64, were with cover versions of the Coasters’ “(Ain’t That) Just Like Me” (No 25) and “Searchin’,(No 12) ” Maurice Williams and the Zodiacs’ “Stay,(No 8)” all in 1963, and Doris Troy’s “Just One Look.” (No 2 in 1964). Their early success was down to Clarkes strong vocals aided quite aptly helped by the backing vocals of Hicks and Nash. Of course the charts of the time were dominated by the Beatles or the Rolling Stones, no-one in the Hollies thought they were as good as them, they had no pretentions of trying to be either, they were doing very nicely thank you. Nash encouraged the Hollies to write their own songs, initially with Clarke, then with Clarke and guitarist Tony Hicks. From 1964 to mid-1966 they wrote under the alias L. Ransford. Their own names were credited on songs from "Stop Stop Stop" from October 1966 onward. In 1965, Nash, with Allan Clarke and guitarist Tony Hicks, formed Gralto Music Ltd, a publishing company which handled their own songs and later signed the young Reg Dwight (a.k.a. 'Elton John' – who played piano and organ on Hollies 1969 and 1970 recordings). Graham Nash, however, itched to make an impression as a more serious artist, particularly on the "King Midas in Reverse" single (1967). Its relatively modest commercial success didn't augur well for his influence over the band's direction, and their next 45s were solidly in the more tried-and-true romantic tradition. By 1968, though, Nash really felt constrained by the band's commercial orientation, and by the end of the year he was gone, left for the States. Under the influence of Bob Dylan, however, their approach broadened, including diluted elements of Folk music, to the particular benefit of Clarke, “Here I Go Again” (1964), “I’m Alive” (their first No1 in1965), “Bus Stop” (1966, their first entry into the American top 10). And after losing singer-guitarist Graham Nash to a more-celebrated partnership with David Crosby. Steven Stills and Neil Young, he was aided and abetted by Terry Sylvester (formerly of Liverpool bands the Escorts and Swinging Blue Jeans), on “He Ain’t Heavy, He’s My Brother” (1969). At their best, the Hollies established a clear balance between the various components at play in their music, developing (like their Liverpool contemporaries the Searchers) a style that provided a useful template for a new generation of power pop groups, many of them American, such as the Raspberries and the Rubinoos. They ran off an awesome series of hits in the U.K. in the '60s, making the Top 20 almost 20 times. Some of their best mid-'60s singles, like "Here I Go Again," "We're Through," and the British number one "I'm Alive," passed virtually unnoticed in the United States, where they didn't make the Top 40 until early 1966, when Graham Gouldman 's "Look Through Any Window" did the trick, On a Carousel," "Carrie Ann," and "Stop Stop Stop" were also big hits over there in 1967 Meanwhile, at home, the hits kept coming when ‘Jennifer Eccles got to No7 in 1968. ‘Sorry Suzanne’ did better later that year by reaching No 3. In 1966, Eric Haydock left the group under cloudy circumstances, replaced by Bernie Calvert. In 1969, the band tried to have its cake and eat it too by doing a whole album of Hollie-ised Dylan songs, which was received poorly by some critics, although it was a decent seller in Britain reaching No 3 in the album charts.. Nash was replaced by Terry Sylvester (formerly of Liverpool bands the Escorts and Swinging Blue Jeans), and the hit streak continued for a while. Their last hit of the sixties decade was ‘He Ain’t Heavy, He’s My Brother’ which reached No3 in late 1969. Unlike most groups of their vintage, the Hollies had their greatest successes in the 1970s, with I Can’t Tell The Bottom From The Top” (1970) One of my personal favourites “Gasoline Alley Bred” (1970) A modest slide in the early '70s was arrested by "Long Cool Woman in a Black Dress," a Creedence Clearwater Revival-type rocker that made number two in the States in 1972 but it only made No32 here in the UK.. The timing wasn't ideal; by the time it became a smash, Clarke, who had sung lead on the single, had left to go solo, to be replaced by Swedish vocalist Mikael Rickfors. Clarke rejoined in mid-1973, and the group had one last international monster, "The Air That I Breathe," which made number 2 here and number six in the U.S. in 1974. The group went on to record a string of further albums in the second half of the 1970s.. The group continued to play concerts and make beautiful records, but there was no public demand for new releases, and by the '90s they'd ceased making new studio recordings. As the 21st century beckoned, Allan Clarke -- after nearly 40 years as the lead vocalist for the band -- found that his singing didn't come to him as strongly or as well as he was used to, and he decided to retire, leaving Hicks and Elliott as the last two core members of the group. Clarke's first successor was Carl Wayne, the onetime lead singer of the 1960s Birmingham-spawned band the Move, who fronted the band on-stage for the next couple of years. In 2003, EMI Records recognized the Hollies' musical significance with a huge (and hugely satisfying) six-CD box set, The Long Road Home: 1963-2003, covering every era and major line-up in the group's history, and containing a huge number of previously unreleased and unanthologised tracks. In 1988 their previous hit from 1969 ‘He Ain’t Heavy, He’s My Brother was re-released after featuring in a Miller Lite beer advert, it went straight to No1. Wayne’s death in 2004 led to another shift in their line-up, but in 2006 the group bounced back with its first new studio album in 23 years, appropriately entitled Staying Power, which featured Hicks and Elliott at the core of a line-up that included Peter Howarth on lead vocals, with Ian Parker on keyboards, Steve Laurie on guitar, and Ray Stiles on bass. Although not widely distributed outside of England, the record -- ironically, their first CD-original studio album -- proved to be a very fine updating of the group's sound, retaining enough of their traditional pop/harmony elements to satisfy long-time listeners. A live DVD derived from a December 2006 concert in Belgium was issued in 2007, a year that also saw a big chunk of their vintage catalogue get further CD re-releases, principally through EMI. In 2009, the Hollies returned with a new album, Then, Now, and Always, and the following year, they received one of the greatest accolades of their career when the Hollies were inducted into the Rock & Roll Hall of Fame. The group continued to tour in the U.K. and Europe, and their 2012 road trip resulted in a live album, 2013's Hollies Live Hits: We Got the Tunes! And in 2014, as the band celebrated their 50th anniversary as a recording act, they released a special three-disc collection, 50 at Fifty, a set that covered the group's history in 50 songs, and included a new track, "Skylarks." Until Next Time……………………………..

The Jack the Ripper Experience · Follow Changing London. The Piccadilly Line is being built beneath the tram tracks. London 1906…

Neil M Blower 43 m · London Road Station 1969

History of Leicestershire in Images Steve Anderson · · Now and Then. The corner of Campbell Street and Charles Street.

History of Leicestershire in Images Steve Anderson · 52 m · Then, but Then again. Charlotte Victoria Hubbard oeondstprSl6t1g1aigc21c5lg1mh492llt85ccm045l7th74aaci2f1g4m9 · The Roman Baths would have been where the Holiday Inn is.

In the interview, the centre-back also touched on the time Leicester pipped Mauricio Pochettino’s Spurs side to the Premier League title. Since when has 'pipped' been 10 points+ and one league placing?

https://www.leicestermercury.co.uk/sport/football/match-reports/squandered-leicester-city-lifeline-leads-9217095 Squandered Leicester City lifeline leads to mentality doubts amid Enzo Maresca's rare Hail Mary Talking points from Leicester City's 1-0 loss to Millwall, looking at the impact of jeopardy, whether the gameplan has been found out, Maresca's tweaks and their success, and more ByJordan Blackwell 15:03, 10 APR 2024 Leicester City didn’t need to beat Millwall to keep their destiny in their hands. Naturally, questions will now be asked if that was part of the problem. Enzo Maresca made an astute point after the win over Birmingham. He felt, in reflecting on City’s relegation from the Premier League, that the players did not do enough to win late-season matches because they had the safety net of another fixture the following weekend. To try to short-circuit his players’ brains not to think that way, he has been approaching each match as if it’s the last in the season. It seemed to make a difference on Saturday as City piled men forward at the death and grabbed a late winner. But watching the display at Millwall, it could not be said that City played with the kind of thrust and urgency of a team that believed they absolutely had to win to get promoted. In the first half, they lacked creativity, but also that sheer force of will. They had just three shots. It was only when they went behind and were staring at a defeat did they play like it was a must-win. So while Saturday’s game seemed like evidence of Maresca’s psychological ploy working, there are now doubts over that. Maybe that victory was just the jeopardy of losing control of the promotion race. After the loss at Bristol City, Leicester had to beat Norwich if they wanted to remain in charge of their fate. The same was true before the clash with Birmingham. Because Ipswich and Leeds both lost at the weekend, City had room to play with. They could afford to lose a match and still be in control, owing to their game in hand. They used up their lifeline immediately. It’s not certain this is the issue. Maresca denied that the loss to Millwall was in any way due to that lack of jeopardy, or even the pressure of being the team at the top of the table. And fortunately for them, Leeds’ failure to beat Sunderland means City can lose to the Pilgrims too and still have automatic promotion in their control. That means the game at Home Park gives City the opportunity to show that a lack of jeopardy is not a barrier to them winning matches. City can’t use up their lifelines so readily. Because it only takes one refereeing decision or one mistake in an actual must-win match to be the difference between promotion and play-offs. They mustn’t reach that point. Another 1-0 loss leads to accusations of City being 'found out' Another question that will be asked is: have City been found out? In the first half of the season, they lost just three times. In the second half of the season, they’ve lost on six occasions, and with five matches still to play. The opposition are not silly. They will watch City endlessly and put together a solution to stopping them, which becomes easier the more evidence there is. Plus, the players already have the experience of having faced City once before. That’s not supposed to be a problem for City. The gameplan is supposed to be foolproof, so that even teams that know how to stop them are not able to. Plus, the idea is that City improve the longer they work with Maresca so as to become better at carrying out the plan and more difficult to stop. The number of defeats they’ve suffered when conceding first adds support to the idea they have been caught onto. While they’ve only conceded first in 12 matches – the second-fewest tally in the division after Southampton – they’ve lost seven of those. Ipswich have conceded first 17 times and lost just four of those. The Tractor Boys are one of six teams, along with Leeds, Norwich, Coventry, Preston, and West Brom, who have a lower percentage of losses when conceding first than City do. The defeat to Millwall was the fifth time Maresca’s side have gone down 1-0 this term. But equally, City do have the most points in the league and they do have the most wins. So it would be unfair to definitively say that the opposition have got their number. But it is true that their improvement rate needs to be greater than the rate at which teams suss them out. It’s not certain that’s the case at the moment. Maresca opts for rare Hail Mary as tweaks offer important element of surprise There is a workaround for Maresca and that is the element of surprise. He is not going to abandon his style in search of a solution, but there are tweaks he can make to the set-up to catch the opposition off guard. In fairness, he did that against Millwall. Usually, Ricardo Pereira is only pushed forward into a number eight role when City are playing against a defensive line of five. At the Den, Ricardo did play in a more advanced position, despite Millwall opting for a back four, meaning it was six on four at times in attack. It led to periods of nice one-touch play in the final third, and some quick pressing, but unfortunately nothing more than that. Playing that way meant Kiernan Dewsbury-Hall and Wilfred Ndidi swapped over, so that when Ricardo moved forward from right-back, it was Dewsbury-Hall playing as a number 10 next to Jamie Vardy, and not Ndidi. However, that also meant that neither of the usual two attacking midfielders were as effective. Dewsbury-Hall, as has often been the case when he’s not played on the left, was out of the game for long periods. He had 53 touches of the ball, which ranks 29th among his Championship appearances this season. That’s despite City’s 72 per cent possession coming in as their eighth highest of the campaign It also meant Ndidi was doing his trademark underlap and clipped cross from the byline with his left foot. It took him 70 minutes to look comfortable doing it, serving up a ball for Abdul Fatawu’s diving header, with Maresca substituting the Nigerian shortly afterwards. In one intriguing change, there was a rare Hail Mary from Maresca. With time ticking down, he brought on Patson Daka for Harry Winks and changed to 4-4-2. Whether it was the extra striker on the pitch or the altered formation disrupting Millwall’s organisation, it did lead to City’s best two chances of the game, both in injury time, with Kelechi Iheanacho’s header off the line and Daka’s skewed horribly wide. It was perhaps the closest Maresca’s ever come to a Plan B and it broadly worked. In the first half, their best chance came when they counter-attacked from a Millwall corner, only Stephy Mavididi’s heavy touch denying them a one-on-one. This is not how Maresca wants them to play, and yet it led to a clear opening. There is a balance to strike. Too big of a departure from what they know and what they practise and City won’t be effective. But a slight difference from the norm is perhaps all it takes to upset opposition sides who are too comfortable. Tiredness excuse won't wash if team is not rotated Maresca said ahead of Tuesday’s match that, as it was the second of three games in seven days, he would make changes. Technically, he wasn’t lying. But two changes is not the sort of rotation that he seemed to be hinting at. It gives City two problems. Firstly, the excuse that the team were tired doesn’t wash. Every side is in the same boat and the best way to negate fatigue is to use the squad. Maresca didn’t do that. Secondly, there will now be questions over whether all of those players can go again on Friday at Plymouth. Because of how the Birmingham and Millwall matches panned out, City did not get the opportunity to ease up and coast to the final whistle, conserving energy. They had to go flat out. On Saturday, Maresca said City need 20 players, not just 11, to earn promotion. He needs to use them then, because if they drop points at Plymouth and again says City are tired, it won’t look good on his part. Top-two or bust for City as toxic mood to hamper play-offs As was the case after the Bristol City match, the mood has swung. The showing at Millwall was not as poor as that performance – at least City created chances when chasing the game this time – but the feeling among supporters is similar. In football, any club is only ever three games from disaster. At the end of the season, when nerves are heightened, it feels like one defeat is all it takes. Maresca, praised after City’s back-to-back wins and their performances against Norwich and Birmingham, is coming in for criticism again. But this is not unique to City. Over at Leeds, the mood is very similar. Daniel Farke is getting nearly as much stick as Maresca is. It’s what happens when the finishing line is in sight. Everything intensifies. Dropped points are deemed a catastrophe. Having been in the top two for so long, it does feel like the atmosphere will turn totally toxic if City end up in the play-offs. They will still have a chance to get promoted from there, but with the expected mood should they finish third or fourth, it feels like they would struggle. Whoever finishes sixth will be buoyant at having beaten off the competition to get the final spot, while Southampton and West Brom are likely to be more mentally prepared for the play-offs, having sat in fourth and fifth for so long. It’s not technically true, but it does feel like it’s top-two or bust for City.

https://www.caughtoffside.com/2024/04/10/farke-englishman-leeds-sunderland/ Daniel Farke has blamed the English ref for Leeds’ draw at Sunderland Against the Black Cats, it seems that the German believes that the English officials were against Leeds. At least that’s the impression he gave in his post-match press conference. “We were pretty unfortunate with some decisions, clear handball in the first half should have been a penalty, clear handball in the second half should have been a penalty,” he said (h/t Wakefield Express). “The added time, it felt a bit harsh after substitutions, lots of time wasting and discussions. I don’t know if we would have scored a goal, but I know we were pretty unlucky with some decisions on the pitch. “In general I’m never asking for red cards but come on act a bit earlier with yellow cards or you send the message you can keep going. “If there is a rule how there should be a handball, I ask just for the rules. When you lean into the ball with the elbow and you have a clear view as a referee, sorry you have to give it. “The second half it was obvious, it was not difficult to see. “We’ve had six letters this year saying ‘sorry it was a penalty or red card’, we’ll likely get two more letters now. Two penalties and I’m sure we would have used one to win this game.” leeds farke championship Daniel Farke let rip in his post-match press conference after the Sunderland game It isn’t clear at this point whether Farke will land himself in trouble for his comments and, frankly, to be diverting the attention away from another poor performance isn’t the best tactic. The German should be looking much closer to home and perhaps geeing up a few of his players that perhaps don’t truly understand what’s at stake. Giving 100 percent at any time is a pre-requisite for a footballer, let alone when your side is in the midst of a full-on promotion race.

Leicester Memories Peter Taylor · 2 h · A Train approaching the Glenfield Tunnel back in the day .

charles street, City Hall on the left in top picture. I believe it was widen in the 30s

Colouring The Past · Follow · Remembering American pop singer LITTLE EVA (born Eva Narcissus Boyd, Jun 29th 1943 – Apr 10th 2003) The story of Little Eva and her 1962 hit "The Loco-Motion" is a fascinating tale of serendipity, talent, and the magic of the Brill Building era. Born Eva Narcissus Boyd on June 29, 1943, in Belhaven, North Carolina, she was one of thirteen children. As a teenager, Eva moved to Brooklyn, New York, where she worked as a maid and babysitter for the legendary songwriting duo Carole King and Gerry Goffin. It was during her time as their babysitter that Eva's life would change forever. King and Goffin, who were hoping to write a song for Dee Dee Sharp, the singer behind the smash hit "Mashed Potato Time," were inspired by Eva's unique dance moves around the house. They penned "The Loco-Motion" based on her dancing style and had Eva record the demo. The demo impressed music producer Don Kirshner so much that he decided to release it as it was, under the name "Little Eva." The song, featuring King herself among the backing vocalists, quickly became a sensation, reaching the top of the charts in 1962 and becoming one of the most iconic girl group hits of all time. Eva's success continued with her follow-up single, "Keep Your Hands Off My Baby," also written by the Goffin-King duo. The song showcased Eva's soulful vocals and reached the Top 20, further cementing her status as a rising star. Interestingly, even the Beatles covered "Keep Your Hands Off My Baby" during their early days, though they never recorded it in the studio. However, Eva's career took a turn when she was pigeonholed as a dance-craze singer and given less impressive material to work with. Despite this, she managed to score another Top 20 hit with "Let's Turkey Trot" in 1963. Eva continued performing and recording until October 2001, when she was diagnosed with cervical cancer. She passed away on April 10, 2003, at the age of 59 in Kinston, North Carolina. Looking back on the creation of "The Loco-Motion," there has been some confusion about the song's origin story. While it was widely believed that King was playing music at home and Eva started dancing to it, inspiring the song and dance, this is not entirely accurate. In reality, King and Goffin had already recognized Eva's singing talent and had her record the demo for "The Loco-Motion." As King stated in an interview with NPR, the song came before the dance, and Eva later had to create a dance to accompany the song during live performances. "The Loco-Motion" remains a testament to the incredible talent of Little Eva, as well as the songwriting prowess of Carole King and Gerry Goffin. The song's enduring popularity is evident in its ranking at No. 359 on Rolling Stone's list of "The 500 Greatest Songs of All Time," and its numerous cover versions, including those by Grand Funk Railroad and Kylie Minogue.

History of Leicestershire in Images Steve Anderson · dnstoorpSe3tt11g385ca266m5fi28i110u26atmh28mm70179utc521fhcg · Now and Then. A photographers and artists studio stood on the corner of London Road and Conduit Street pictured about 1920. And now of course, long gone. To the left, you can just see part of the London Road statio

His major flaw last night was not rotating the players who were obviously knackered from the KO, apart from Akgun that was probably his 1st and most played team. Not only did he not rotate he moved players like Ndidi to their weaker side. I'm sure a few more of our fitter possibly less talented/appropriate 2nd team players would have put on a better more "up for it" performance and got us at least a draw.

But the thread is about how good or bad the refs are not about how crap we were.

History of Leicestershire in Images Steve Anderson · · The obviously very popular Charles Napier pub at the corner of Causeway Lane and White Street in 1913.

... and that allowed their scorer to get his match winning shot in as Winks was afraid of tackling him.

Born and Raised in Leicester · Follow · Construction of Odeon cinema, Queen Street c.1937

Steve Anderson Top contributor · · Tracklaying at the junction of Welford Road and Clarendon Park Road in 1903

History of Leicestershire in Images Steve Anderson · 5 m · Now and Then. Granby Street and Calais Hill junction preparing for tram lines to be laid in 1904.

History of Leicestershire in Images Steve Anderson · · Now and Then. Fosse Road North in the early 1900s 

All Things Music Plus Joe Meek (Record producer; Tornados, many others) was born on this date in 1929. He died on February 3, 1967, aged 37. Robert George "Joe" Meek was an English record producer, musician, sound engineer and songwriter who pioneered space age and experimental pop music. He also assisted the development of recording practices like overdubbing, sampling and reverberation. Meek is considered one of the most influential sound engineers of all time, being one of the first to develop ideas such as the recording studio as an instrument, and becoming one of the first producers to be recognized for his individual identity as an artist. __________ Artists produced by Meek Meek passed up the chance to work with the then unknown David Bowie, the Beatles (the latter he once described as "just another bunch of noise, copying other people's music") and Rod Stewart. John Repsch, in The Legendary Joe Meek, recounts that upon hearing Stewart sing, Meek rushed into the studio, put his fingers in his ears and screamed until Stewart had left. He preferred to record instrumentals with the band he sang with – the Moontrekkers. In 1963 Meek worked with a then little-known singer Tom Jones, then the lead vocalist of Tommy Scott & the Senators. Meek recorded seven tracks with Jones and took them to various labels in an attempt to get a record deal, with no success. Two years later after Jones' worldwide hit "It's Not Unusual" in 1965, Meek was able to sell the tapes he had recorded with Jones to Tower (USA) and Columbia (UK). Dave Adams Deke Arlon and the Offbeats The Ambassadors Chico Arnez Burr Bailey and the Six Shooters Chris Barber Shirley Bassey The Beat Boys Cliff Bennett and the Rebel Rousers Mike Berry The Pete Best Four Pamela Blue The Blue Men The Blue Rondos The Buzz The Cameos Carter-Lewis and the Southerners Andy Cavell George Chakiris Don Charles The Checkmates Chris and the Outcasts Neil Christian Petula Clark Pat Reader The Classics Glenda Collins Jess Conrad Peter Cook Michael Cox Bobby Cristo and the Rebels The Cryin' Shames Tony Dangerfield and the Thrills Danny's Passion Billie Davis Alan Dean and his Problems Ray Dexter and the Layabouts The Diamond Twins Lonnie Donegan Silas Dooley Jr. Diana Dors The Dowlands The Ferridays The Flee-Rekkers Flip and the Dateliners Emile Ford and the Checkmates Lance Fortune The Four Matadors Billy Fury Geoff Goddard Kenny Graham and the Satellites Iain Gregory Heinz and the Wild Boys Chas Hodges Kenny Hollywood The Honeycombs The Hotrods The Impac Peter Jay and the Jaywalkers David John and the Mood Tom Jones Johnny and Chaz and the Gunners Joy and Dave Charles Kingsley Creation Roger LaVern and the Microns Jamie Lee and the Atlantics John Leyton Peter London Humphrey Lyttelton Malcolm and the Countdowns The Manish Boys Valerie Masters Jimmy Miller and the Barbecues The Millionaires The Moontrekkers Jenny Moss The Outlaws The Packabeats Mike Preston The Puppets Donn Reynolds Bobby Rio and the Revelles The Riot Squad Danny Rivers Kim Roberts The Saints Wes Sands Mike Sarne The Saxons Shade Joey and the Night Owls The Shakeouts The Sharades Anne Shelton Robb Shenton Simplicity Pattern Sounds Incorporated Freddie Starr and the Midnighters Tommy Steele The Stonehenge Men Big Jim Sullivan Screaming Lord Sutch and the Savages The Syndicats Gerry Temple Gunilla Thorne The Thunderbolts The Tornados Frankie Vaughan Toby Ventura Gene Vincent Ricky Wayne and the Offbeats Houston Wells and the Marksmen Brian White & the Magna Jazz Band Chris Williams and the Monsters Yolanda The Young Ones #joemeek

ive been to filbert street n stood on the kop those were the days my friend · Join Suggested for you · Steven Glew · · The write up to this photo has Leicester fans before the 1961 Cup final with Spurs???

Wigston In Photos 1950-2000 added a new photo to the album Postcards. · Saffron Road, South Wigston SWG 1F Postcard by F. Frith & Co. Ltd., Reigate

History of Leicestershire in Images Steve Anderson · 4 m · Huntingdon’s Tower wasn’t there much longer after this picture was taken. Apparently all knocked down to widen the road for trams.