By 1964, Jeffrey Kruger’s Flamingo Club, in the basement of 33-37 Wardour Street in the heart of Soho, had gained a reputation as one of the hottest clubs in town. Managed by the Gunnell brothers, Rik and Johnny, the ‘Mingo’, as it became known to the regulars, was originally a jazz club until the early sixties when it changed the emphasis to r&b, Jamaican bluebeat and ska, blues and soul. The club’s mixed race clientele harboured gangsters, hookers, pimps and drug dealers who sold purple hearts to the Mods and reefer to the West Indian immigrants and black American GI’s out for a rowdy night on the town from the surrounding military bases. The All-Nighters (midnight to five in the morning) became infamous for the latest r&b sounds and late night drinking, despite the club not having an alcohol licence. Scotch would be dispensed in Coke bottles (regularly spiced with a pep pill) in a half-hearted attempt to fool the cops, not that the boys in blues were unduly bothered as they were on the take and would call ahead before a raid. It was here that Georgie Fame and the Blues Flames, Chris Farlowe and the Thunderbirds, Geno Washington and the Ram Jam Band, Herbie Goins and the Night Timers, Graham Bond’s Organisation and John Mayall and the Bluesbreakers gained their reputations and made their names. The club was at the epicentre of what would become ‘Swinging London’ and the Big Roll Band had to be exceptionally good to hold their own in such esteemed company and grab the attention of such a knowledgeable crowd but, through sheer hard work and raw talent, they became one of the best.
It all began on the 17th July 1942 with the birth of George Bruno Money at the Royal Victoria Hospital in Ashley Road, Boscombe to Italian immigrant parents. He lived above a shop at 184A Old Christchurch Road with his parents Oscar, a waiter at the Norfolk Hotel, mother Mary, brother Carlo and sisters Sylvia and Norma, a violinist and pianist respectively who undoubtedly encouraged the young George in his musical endeavours. He attended Portchester Secondary School in Portchester Road, Charminster where, apart from his academic pursuits, he sang in the choir and played the French horn in the school orchestra. Like most kids with an ear to the latest musical trends, he and two school friends, bassist Mike ‘Monty’ Montgomery (b. Bournemouth, 1942) and drummer Pete Cox (b. Bournemouth, 1942) joined a skiffle group called The Four Ales formed by Bournemouth Grammar school pupil John Goggin (b. Bournemouth, 1942). It was Goggin who taught Zoot his first chords on the guitar and christened George ‘Zoot’, because of his infatuation with the American jazz saxophonist Zoot Sims who the boys saw at the Winter Gardens with the Jazz Couriers. Zoot also found time to put together the Portchester Road Jazz Band becoming the banjo player in a sextet of trombone, clarinet, trumpet, drums and double bass. When he left school, his initial forays into the world of music were left behind as he signed a four-year apprenticeship with Melson and Wingate the opticians.
Inspired by the frenetic piano pounding of Jerry Lee Lewis and the gospel / soul / r&b stew cooked up by the blind pianist Ray Charles, Zoot was ready for a new challenge. Guitarist Al Kirtley (b. Edward Allan Kirtley on 20th December 1942 at the Pine Lea Nursing Home, West Way, Bournemouth) and vocalist Rob Tibble (b. Bournemouth, 1942) had assembled a group called The Stormers for a Bournemouth school concert in 1961 which, with the addition of Zoot, also comprised of bassist Mike Montgomery, second guitarist Tommy Mouland plus drummer John Penhale. They built up a solid core of devotees while pounding out their brand of rock ‘n’ roll and also caught the eyes and ears of the Southampton based promoter Reg Calvert after they auditioned at the Holdenhurst Road Drill Hall. Reg booked them onto regular Friday night support slots at the Drill Hall and the Sidney Hall in Weymouth, where on more than one occasion they backed the maniacal Screaming Lord Sutch. Over time Tibble and Mouland left, while drummer Penhale felt he was on shaky ground after Zoot likened his drum break during a rendition of Johnny Kidd’s “Shaking all Over” to a “weak fart”. But he didn’t have to worry too much about his position in the band, as Zoot and Kirtley parted company with the group, leaving the remaining Stormers to bring in guitarist Andy Somers to cover the double departure. His appointment lasted all of one gig at the Drill Hall, as the guitarist found out the hard way that although he was a nifty guitar player, he wasn’t by any stretch of the imagination a vocalist. The Stormers realised the game was up and fell apart, with drummer Penhale taking his dubious soloing skills to Johnny and the Giants, joining guitarist Alan Barry, bassist Mike Piggott and vocalist Johnny Wylie. The Giants eventually split when Wylie joined the Navy and Penhale took a job with Lloyds Bank in London, leaving Barry and Piggott free to join the Dowland brothers backing band The Soundtracks.
As for Al Kirtley, he joined The Furies at the invitation of bassist John ‘Jet’ Berryman and drummer Howard ‘Eddie’ Parsons weeks before The Furies incumbent singer, Les Fisher, a hard as nails frontman who never shied away from a punch-up, made way for the talented rising vocal star on the Bournemouth scene, Tony Head. Zoot went on to form the transitory Blackhawks with bassist Roger Bone, drummer Patrick ‘Pee Wee’ Sheehan and former Johnny King and the Raiders guitarist Roger ‘Rocky’ Collis (b. 7th July 1941 at the Pine Lea Nursing Home, West Way, Bournemouth). The new group became a popular draw at the newly opened Downstairs Club during the spring of 1961 until owner Jerry Stooks hastened their demise by pulling a fast one with their method of payment, leaving the group out of pocket. It was time for a rethink.
During the autumn of 1961, Roger Collis hatched a plan to form a supergroup by drafting in the best local musicians to play pure rock ‘n’ roll, with less emphasis on the rock and more on the roll, i.e. a swing beat as opposed to the usual four to the floor rock beat dispensed by most amateur groups. With Roger on guitar and Zoot focusing on vocals, they recruited Al Kirtley from Dave Anthony and the Rebels after persuading him to drop the guitar for piano, stalwart bassist Mike Montgomery and drummer John ‘Johnny’ Hammond (b. Bournemouth, 1943) from the Soundtracks. The newly baptized Big Roll Band took their name from a misheard lyric on Chuck Berry’s “Johnny B. Goode”. Instead of “Someday you will be the leader of a big ol’ band”, they heard “a big roll band”.
They patched up their differences with Jerry Stooks and returned to the Downstairs Club playing their first gig on Sunday 12th November 1961, where they built a reputation as one of the best bands in town. A hectic schedule and a succession of late nights travelling home from gigs in far-flung towns and cities contributed to the eventual undoing of the original line-up. Whereas Zoot and Roger left their daily employment to focus on becoming full-time professionals, Mike and Johnny were torn between a life on the road or staying with their day jobs. After much deliberation, the pair opted for the latter. For the BRB’s next gig they drafted in drummer Eddie Parsons to fulfill a date at the Ballito Nylon Stocking factory in St Albans supporting Cliff Bennett and the Rebel Rousers, but on the way home Al Kirtley also tendered his resignation. Down to a duo, Roger contacted their agent in Southampton, Len Canham, and cancelled all remaining bookings.
Within a matter of weeks BRB Mark 2 were ready to roll with an all new line-up of Johnny King on bass (b. Bournemouth 1942), Peter Brookes on drums (b. 24th February 1941 in Throwleigh, Devon), Kevin Drake on tenor saxophone (b. Bournemouth, 1940), Zoot now handling vocals while sat behind an organ and Roger on guitar. To supplement local dates, Roger went back to Canham cap in hand to beg for work. Len relented and gave them a trial date at the Pier Ballrooms in Southampton. Back in the early sixties, amplification was still in its infancy and the band’s dodgy gear conspired against them and turned the gig into a farce. Roger channelled his brand new shiny Fender Stratocaster through a battered Selmer amplifier via a Watkins Copicat, while Johnny King put his bass through a make shift Leak Hi Fi amp connected to a set of speakers encased in a crude cabinet knocked up by Roger in his shed. Halfway through their set, Johnny’s Heath Robinson box of tricks gave up the ghost and the band ground to a halt. Without the bass they couldn’t continue and the red-faced quintet trudged off stage, watched by the stoney faced crowd. While packing up their kit they soon realised that the luckless bassist had inadvertently kicked the jack plug out of its socket, causing the unscheduled stoppage. In a fit of pique Roger picked up the offending equipment and launched it off the end of the pier, muttering that “‘Kinger’ should follow”. The aftermath resulted in the Big Roll Band falling apart and Roger temporarily retiring from the music scene in disgust.
Supporting the BRB on that fateful date in Southampton was the Terry Young Five, a versatile group from London who were a mainstay on the lucrative package tour circuit. Their leader, Terry, made a mental note of the Big Roll Band’s sax player Kevin Drake and contacted Roger soon after the gig enquiring about Drakes availability. Roger put them in touch, ushering the saxophonist’s departure to the bright lights of London. While he was with the newly expanded Terry Young Six, Kevin toured the theatres of Britain with several top groups and artistes including Jet Harris and Tony Meehan, Gerry and the Pacemakers, Freddie and the Dreamers, Peter Jay and the Jay Walkers, Chris Montez, The Four Seasons, Roy Orbison and an up-and-coming foursome from Liverpool called The Beatles. In a bizarre twist, the band adopted the name of The Sons of the Piltdown Men to cash in on an American instrumental band called The Piltdown Men, who had three top twenty hits in the UK. The idea was the brainchild of one of the original Piltdown Men, Lincoln Maygora, who came over to England to further his career. The newly christened band carried on where they left off on the package tour merry-go-round and were part of The Beatles shows that undertook a week long residency at the Gaumont in August 1963. During the run, Billy J. Kramer celebrated his 20th birthday at the Palace Court Hotel next door to the cinema. As the night wore on, John Lennon and the Piltdown’s pianist, Barry Booth, got into a booze fueled altercation about music. It didn’t quite come to blows, but it took diplomatic Paul McCartney to take the heat out of the dispute.
In the autumn of 1963 Drake and the band’s bassist, John Rostill, fell out with Young over money and several other issues and returned to Bournemouth, inspiring Roger Collis to come out of retirement and form a new group, The Interns, with Peter Brookes on drums. The versatile group, like many combos of the day, covered the hits of the day and old rock ‘n’ roll tunes, but a gig at the Downstairs club more or less finished the group off. The Shadows had Rostill on their radar and sent a road manager down to Bournemouth to headhunt the bassist as a replacement for the departing Brian ‘Licorice’ Locking. During the interval it didn’t take much persuading for Rostill to opt for fame and fortune with a chart topping group in preference to slogging around Bournemouth in a covers band. The defection resulted in Peter Brookes throwing in the towel and Roger, in a bid to save the group, drafting in Michael and Peter Giles to fill the void. However, the group failed to recover from the upheaval and after a mere eight gigs they succumbed to the inevitable. John Rostill remained with The Shadows until 1973, when he was found dead at his home studio in Radlett, Heartfordshire by his wife Margaret and The Shadows rhythm guitarist Bruce Welch. John, an exceptionally talented bass player, had suffered from depression for most of his life and had taken an overdose of barbiturates.
Meanwhile, Zoot had talked his way into The Sands Combo, a band comprising The Blackhawks old rhythm section of bassist Roger Bone and drummer ‘Pee Wee’ Sheehan, later to be replaced by Chris ‘Fergie’ Ferguson, pianist Al Kirtley, saxophonist Nigel Street, guitarist Graham ‘Wes’ Douglas and on vocals, Tony Head. Already established around town, The Sands secured a residency at the weekly ‘Big Beat Night’ at The Pavilion Ballrooms. Now with Zoot on board, Tony Head provided the lighter moments with songs such as Dee Clark’s “Raindrops”, Chuck Berry’s “Talkin’ ‘Bout You” and Chubby Checker’s “The Twist”, while Zoot brought a dose of r&b to the party by raiding the Ray Charles songbook with “Hallelujah I Love Her So”, “Hit the Road Jack”, “Sticks and Stones” and his show stopper, “What’d I Say”. Support was usually provided by Tony Blackburn and the Rovers, who Zoot insisted on introducing as Tony Blackhead and the Pimples, much to the future DJ’s annoyance and the audience’s delight. The unpredictable frontman was already honing the art of irreverent banter and piss taking, a talent he would perfect over the years.
Away from the Pavilion, the Combo plied their trade around the usual haunts including the newly christened Le Disque A Go! Go!, the Bure Club, the YMCA Jazz Club, the Santa Fe Club in the Northwick Hotel and the Burlington Hotel along with a weekly round trip to Swanage on the Embassy paddle steamer as part of the ‘Jazz and Twist Boat Cruise and Dance Night’. It was on one of these choppy voyages that drummer Colin Allen made his maiden voyage with Zoot, performing to a bunch of Swiss exchange students. Colin remembers the gig clearly as he recollects Zoot shouting, “Hit the bloody things you’re not playing jazz now” during one of the up-tempo rock songs, a typical Zoot response that would ring bells with former Stormer, John Penhale. As summer faded into autumn, the Sands Combo fragmented over money issues, spurring Al and Nigel to link up with future Nite People members, Jimmy and Francis Shipstone, plus drummer Tom Costello in the Cripsin Street Quintet. As for Zoot, he drew up plans for yet another version of the Big Roll Band featuring a guitarist he had recently made the acquaintance of, Andy Somers, plus Colin Allen.
Colin and Andy initially met Zoot at the Blue Note Club held at the Highcliff Hotel on the west cliff. They struck up a lifelong friendship while hanging out at Zoot’s flat in Old Christchurch Road, where he extolled the virtues of his hero, Ray Charles. The Big Roll Band Mark 3 also included Nick Newall (b. 5th May 1940 in Gibralter), a tenor saxophone and flute player who had been in The Rhythm Section with vocalist Tony ‘Dave Anthony’ Head, plus a part-time bassist, Roger Bone. They picked up numerous dates around town plus the ‘Big Beat Nights’ at the Pavilion that had been vacated by the Sands Combo. However, Zoot and Andy were ambitious for bigger things and as fate would have it, Alexis Korner’s manager was in the audience at a gig at the Ossemsley Manor while the pair were depping with the Don Robb Band. He invited Zoot to London for a short-term contract with Korner’s Blues Incorporated. Sensing an opportunity to break into the capital’s music scene, he jumped at the chance and headed for the Big Smoke with Andy tagging along for moral support.
The first electric blues band in the UK, Alexis Korner’s Blues Incorporated, acted as a launch pad for several musicians in the early sixties. Cyril Davies blew harmonica with the band, Ronnie Wood’s brother Art and Long John Baldry both shared vocals with Korner, Charlie Watts laid claim to the drum stool as did Ginger Baker after Charlie left to become a Rolling Stone, Jack Bruce anchored the bass position for a short spell and Graham Bond tickled the ivories and blew sax. There was also a chance that Alexis would give the nod to one of the handful of hopefuls in the audience who would get to strut their stuff. Future Stones Keith Richards, Brian Jones and Mick Jagger all caught his eye at one time or another as did The Animals Eric Burdon, Manfred Mann’s Paul Jones, an up-and-coming guitarist called Eric Clapton and Rod ‘The Mod’ Stewart. The formation that greeted Zoot wasn’t too shabby either, with Phil Seamen on drums, Art Themen, Dave Castle and Dick Heckstall-Smith on saxes and Danny Thompson on bass. Zoot slotted in seamlessly, sharing vocals with his new boss and playing keyboards. After a handful of dates, Alexis handed him a solo spot in the interval at the El Toro club in Finchley Road as a showcase for his talents. A couple of weeks later he suggested that Zoot should invite his band up from Bournemouth for the next gig at the Six Bells pub in Chelsea. The date went well, as did a hastily arranged booking at the Marquee club. The time felt right for a permanent move to the capital and a flat was secured at 11 Gunterstone Road, West Kensington, with money forwarded by Colin Allen. While Zoot remained in London, Andy returned home to collect his belongings, before joining Colin in Nick Newall’s van for the hundred mile journey into the unknown on 1st January 1964.
The most pressing dilemma, after accommodation, was to find a permanent bass player. Zoot had already seen Paul Williams at a Wes Minster Five gig performing more or less the same material as the Big Roll Band. Impressed by the quality of his voice, he invited Williams to join and mentioned that he was looking for a bass player. Paul remarked that he “didn’t know anyone”, but Zoot fired back, “How about you?” then added “You could learn, rehearsals start in two weeks”, bass player sorted.
The band passed an audition for the Gunnell brothers at the Flamingo Club and took over the residency vacated by Georgie Fame and the Blue Flames who were on the brink of stardom. They were an instant hit with the ready-made audience impressing with their authentic take on Ray Charles, James Brown and Jimmy Reed covers, plus Zoot’s onstage banter immediately endeared him to the crowd. As their popularity grew, Clive Burrows, another Wes Minster Five refugee, joined on baritone sax to give the brass more of a punch and the band took over the regular Monday night slot at the Flamingo billed as ‘Money’s Monday’.
Under the auspices of their manager Bob Hind, the band branched out, completing a gruelling two-week residency at the Storyville Club in Frankfurt and travelled the length and breadth of Britain dispensing their own brand of r&b mayhem to ecstatic audiences. An oft-cited statistic from the day has the BRB playing thirteen gigs in eight days, including afternoons, evenings and all-nighters. The relentless schedule saw Zoot becoming ever more outrageous, as he took to climbing onto his Hammond, taking forays into the audience to whip up excitement and dropping his trousers to reveal a pair of multi-coloured boxer shorts. The ‘Flamingo Flasher’ was born. At an outdoor gig in Majorca, Zoot danced on the roof of the band’s van after the power was turned off by the mayor, while Colin pounded out a beat and the brass blasted impromptu riffs. On another occasion in Paris, Eric Burdon and Chas Chandler of The Animals ran onto the stage during the climax of the Rollers set and relieved Zoot of his trousers causing the crowd to go wild. The headliner of the show, James Brown, wasn’t impressed.
Their first single, a cover of The Daylighters “The Uncle Willie” backed with “Zoot’s Suit”, was a one shot-deal for Decca credited to a solo Zoot. By March 1965 they were on Columbia, where over the next two years they released nine singles with “Big Time Operator” being the most successful, peaking at number twenty-five in August 1966. Their Rik Gunnell financed debut album, It Should’ve Been Me, featured their road tested live set honed to perfection after months of non-stop gigging. Recorded in a day at Pye Studios with a break for lunch at the local pub, the record garnered several glowing reviews including one from the scribe at the Record Mirror who posted, “The rather extrovert Mr. Money and a fair old L.P. Plenty of organ bashing and jazz blues sounds all round”. It sold moderately, which is a pity, as the musicianship on display is superb. Andy Somers excellent jazzy solos on “Bright Lights Big City” and “Along Came John” would surprise fans of The Police who are more familiar with his sparse but clever chordal work. Zoot shines on the aforementioned “Along Came John”, Jimmy Smith’s “The Cat” and Eddie ‘Cleanhead’ Vinson’s “Back Door Blues” and the rhythm section of Paul and Colin swing like a shit house door in a gale. The title of the album just about sums up Zoot’s career, as their jazz infused r&b was as good as anything recorded by Georgie Fame, but sales told a different story. In fact one frustrated fan was so incensed that the band failed to elicit enough votes to make the list of top fifty groups in the music paper Melody Maker, that they wrote to the letters page in March 1966 and poured out their spleen stating, “Zoot Money and the Big Roll Band beat the pop 50 hollow. The raving mass must be dead thick not to appreciate them. I’m shattered also to see this LP isn’t in the charts”. With fanatical followers like that, the band must have been doing something right. If only they could have written a couple of catchy originals, the outcome might have been much different.
First broadcast on Friday 9th August 1963, Ready Steady Go was initially a music show created for the blossoming Beat Boom. With the catchphrase “The Weekend Starts Here!”, RSG became a must watch for the pop and fashion obsessed youth of Britain. Presented by the staid, but professional Bruce Fordyce and the ultra-hip but unpolished Cathy McGowan, groups mimed to their latest hits in front of an invited audience of Mods handpicked from the chic clubs of London. In the spring of 1965 the show was revamped with a name change to Ready Steady Goes Live (they reverted to the original name in June) and a move from the cramped basement studio in Kingsway central London to a larger facility in Wembley. By doing away with the mime element, the show added an extra edge and excitement to an outmoded format that appealed to bands that had made their names and reputations in the clubs, such as The Rolling Stones, The Pretty Things, Manfred Mann, The Who, The Kinks and The Yardbirds. The producers also booked visiting American soul artists such as James Brown, Otis Redding, Wilson Pickett and the Tamla Motown Soul Revue of 1965 starring The Supremes, Stevie Wonder, Martha Reeves and the Vandellas and Smokey Robinson and the Miracles which helped publicise black music in the UK. Ready Steady Go was truly innovative TV and the first music programme made by young people for young people.
To test the waters on whether an all live show would be workable, a pilot was commissioned for March 1965 with a line-up of Alexis Korner’s Blues Incorporated, The Mighty Avengers, Madeline Bell, Lesley Duncan and Zoot Money’s Big Roll Band. The new formula proved to be a success and the first edition of Ready Steady Goes Live was broadcast on Friday 2nd April 1965 with guests Dionne Warwick, Cliff Bennett and the Rebel Rousers, Donovan, Tom Jones, Manfred Mann and a returning Big Roll Band who performed James Browns “I’ll Go Crazy” and Bob Crewe’s “Good”. On the 9th July they were back with The Yardbirds, Goldie and the Gingerbreads, The Ivy League and The Dave Clark Five. This time they served up a rendition of Burt Bacharach’s “Please Stay” and Zoot duetted with Lulu. The last appearance of 1965 occurred on 24th September with the band performing Otis Redding’s “Something is Worrying Me” along with guests Chris Andrews, Wayne Fontana and the Mindbenders, The Sorrows, Major Lance, Joe Williams and The Kinks. In September 1966 the Rollers returned for the final time, appearing with Peter and Gordon, Twice as Much, Eddie Cave and the Fyx and The Who, and performed their current hit, “Big Time Operator”.
The band also appeared on Beat Room, the BBC’s short-lived answer to Rediffusion’s Ready Steady Go, with Peter and Gordon and Bill Hayley and the Comets in September 1964 and in January 1966 they joined Cilla Black, The Mindbenders, The Walker Brothers and Twinkle on ITV’s Thank Your Lucky Stars. They were no strangers to radio either, as Brian Matthew regularly booked them onto Saturday Club and they also popped up on the Joe Loss Show, where they performed in front of an invited audience of bemused pensioners. But like Zoot mentions in the sleeve notes of the Big Time Operator box set, “They couldn’t afford Georgie (Fame), so they had the Big Roll Band whether they liked it or not”. Elvis Costello’s father Ross McManus was in the Loss band at the time and Elvis mentions in his autobiography, Unfaithful Music, that he still has the Big Roll Band’s autographs that his dad collected for him.
Around the autumn of 1965, Clive Burrows moved on to the Alan Price Set, making way for Johnny Almond to come in from Tony Knight’s Chessmen on sax and flute, just in time for their next album, Zoot!. This time out they left the confines of the studio and decamped to Dick Jordan’s Klooks Kleek club above the Railway Hotel in West Hampstead on Tuesday 31st May 1966. The band had set an attendance record there the year before and could guarantee a packed house. On the evening of recording, hundreds of people were turned away but the lucky few who gained entry, joined invited guests Chas Chandler, Eric Burdon, Georgie Fame and Brian Auger for a night of high octane entertainment. Future Elton John producer Gus Dudgeon organised the recording by routing cables through the window and over the roof from the Decca studio’s next door. He captured the Big Roll Band at the top of their game, whipping up a storm with twelve slices of raw r&b including a rollicking six minute plus James Brown medley, a slowed down version of Earl King’s “Let the Good Times Roll” and rounding off proceedings with a romping cover of Robert Parker’s “Barefootin’”. The Record Mirror reported, “This is quite an exciting album. One of those live LP’s where the artiste has succeeded in putting across a variety of atmospheres, instead of just the usual frantic beat and muzzy vocals” and Downbeat, the bible for jazz buffs, gave it a five stars. This time the reviews were reflected in sales, as it climbed to a respectable number twenty three in October 1966. Shortly after the album’s release, Geoff Condon swelled the ranks to a septet by adding trumpet to the line-up.
The sixties music scene in London was a tight-knit community and most of the groups knew each other, drank at the same clubs and shared the same drugs and girlfriends. In this incestuous environment, bands were formed, musicians poached and friendships made. All the BRB knew The Animals and Zoot and Eric Burdon became close drinking buddies. He was best man at Eric’s wedding to Angie King, turning up in top hat and tails, while the rest of the guests went for full hippy regalia. On Saturday 24th September 1966 the Animals bass player, Chas Chandler, stepped off a plane from New York with a young black guitarist in tow and headed to Gunterstone Road to call on Zoot for a much-needed restorative cuppa after their long flight. As Chas and Zoot shot the breeze upstairs, the guitarist sat on the low wall outside Andy and Colin’s basement flat and exchanged a few pleasantries with the pair before they headed off into town. This was their introduction to Jimi Hendrix. Later that afternoon, Jimi passed on Zoot’s Wandre guitar after he played around on it and borrowed a left-handed model from a friend of Chandler’s instead, which he played that night at the Scotch of St. James. Over the coming weeks, Chas introduced Jimi to the rock glitterati at Blaizes, the Speakeasy, Bag o’ Nails and the Cromwellian, where he would sit in with whoever was performing on the night. But it wasn’t at one of these fashionable hang outs that Jimi got to play with the Big Roll Band, or at Zoot’s flat on his first day in London as widely reported over the years. It was actually at the Orford Cellar Club in Norwich that he stepped up on stage and delivered a fiery version of “Hey Joe”. Two months later he was riding high in the charts with the same song and had the world at his feet.
By early 1967 Zoot and Andy sensed a wind of change blowing through the air, as their brand of sweaty no holds bar r&b was engulfed in a haze of marijuana smoke. The amphetamine fuelled Mods were slowly being usurped by the Hippies, who preferred to smoke jazz woodbines and indulge in hallucinogens, the Big Roll Band had become an anachronism. Spurred on by Andy Summers keen ear for a new trend and their newfound appetite for Lysergic Acid Diethylamide (LSD), the Big Roll Band slimmed down to a quartet by ditching the brass and replacing bassist Paul Williams with Pat Donaldson (Williams later became the vocalist with Juicy Lucy after a stint with John Mayall).
Dantalian’s Chariot, named by their publicist Jim Ramble after Dantalian, the seventy-first Spirit of Solomon from The Book of Sephiroth, performed their debut set of all new original material on Saturday 12th August at the ‘Seventh National Jazz and Blues Festival’ in Windsor, sandwiched between The Crazy World of Arthur Brown and The Nice. An appearance at the ‘Festival of the Flower Children’ at Woburn Abbey two weeks later, where they took to an all-white stage with white instruments and dressed in white clothing bathed in what was believed to be the best light show in the country operated by Phil Rose and Mike Lowe, confirmed their hippie credentials. The Flamingo was soon a distant memory, as the Chariot headed underground to the Middle Earth in Covent Garden and the UFO at the Roundhouse in Chalk Farm, where they were highly regarded by the hippie clientele. However, outside of the metropolis it was an entirely different matter, as the Chariot received a bumpy ride. Most punters expecting a night of bawdy r&b got a self-indulgent trippy band of acid heads instead. As Zoot succinctly noted, “East Grinstead is not Haight Ashbury”.
In keeping with the artistic experimentation of the day, the band appeared in the little-seen film, Pop Down, directed by Fred Marshall. The movie starred Zoot as Sagittarius and Jane Bates as Aries, two alien beings sent down from outer space to observe the excesses of Swinging London. Shot on a shoestring and on the hoof around the capital, the self- indulgent collage of sights and sounds apparently has little to recommend it as far as a story-line or dialogue goes, however, as a snapshot of the period it is said to be priceless. With performances from Brenton Wood, Blossom Toes, Julie Driscoll and the Brian Auger Trinity, Bournemouth’s own one-man band Don Partridge and Dantalian’s Chariot airing a piece called “Soliloquy”, it would be fascinating to view this obscure celluloid time-capsule if only it were possible, as the original prints have long been lost.
One positive to come from the period was the excellent single, “The Madman Running Through the Fields”, a prime slice of psychedelia drenched in studio trickery. Comparable to Pink Floyd’s “See Emily Play” and The Beatles “Strawberry Fields Forever”, it inexplicably failed to chart despite glowing reviews from Disc & Music Echo and Record Mirror. It is now viewed as a classic of its type by connoisseurs of the genre and has been collected on many compilations of psychedelic rarities over the years. To add salt to the wounds, Columbia didn’t approve of the new material and dropped the band before an album could be completed. With trippy titles such as “The Sun Came Bursting Through My Cloud”, “High Flying Bird”, and “Soma”, an Andy Somers sitar workout with flute by Nick Newall, the recordings sat on a shelf until Tenth Planet collected the tracks together in 1995 for the limited edition vinyl release Chariot Rising. It is now widely available as a CD on the Esoteric label. Instead, the band was picked up by Direction on a one album deal which produced the schizophrenic Transition, a cobbled together collection of old Big Roll Band recordings and three Dantalian Chariot tracks. It seems odd that their new label bothered to sign them, as it appears they didn’t buy into the band’s brand of experimental psychedelia either.
On 29th March 1968, after another less than successful gig at the Mayflower Ballroom in Newcastle, Colin was at the wheel of the band’s Zephyr Six driving home across the Yorkshire moors during a snowstorm with Andy, Pat Donaldson and their roadie Phil. Suddenly the car skidded off the road and rolled over into a field. Road accidents were an occupational hazard for bands back in the sixties. Blossom Toes ended up upside down in the fast lane of the opposite carriageway on the M4 after skidding on black ice coming back from a gig at Bristol University, a couple of members were so shook up they left and the band spilt up. Even worse, Fairport Convention tragically lost their drummer Martin Lamble and Richard Thompson’s girlfriend Jeannie Franklyn, on the M1 while returning from a date at Mothers in Birmingham. Their driver fell asleep at the wheel and the band and gear ended up scattered across the motorway and a field after it somersaulted off the road. The Chariot was relatively lucky. Colin and Phil crawled out of the wreckage fairly unscathed, Pat kicked out the back window to escape but Andy, who was also in the back, ended up in hospital with a broken nose. The next day the walking wounded returned to London on the train after a night at the village police station, with Andy following later. The band played a few more gigs with Andy wearing plasters on his nose, but the writing was on the wall. Dropped by their record company, a less than successful tour of Scandinavia behind them, dwindling gigs and costs mounting, the jokingly titled (by the band) Dandelion’s Charabanc rolled out of town for the last time on 19th April 1968 after a gig at the Mistralle Club in Beckenham.
After their grand failure, Colin joined Mick Taylor and Stephen Thompson in John Mayall’s new band, Pat Donaldson hitched up with the husband and wife pairing of Sandy Denny and Trevor Lucas in Fotheringay, Andy had a short sojourn with the Soft Machine and Zoot flew to California at the invitation of Eric Burdon to be his musical director in the New Animals. Eric had embraced the counterculture full-on and was forging a new career in Los Angeles, where he had recorded Eric is Here, Winds of Change and The Twain Shall Meet all within a year. His new band comprised of the relatively unknown Danny McCulloch on bass, drummer Barry Jenkins, ex Johnny Kidd and the Pirates guitarist John Weider and Vic Briggs from the Brian Auger Trinity. Zoot joined in time to contribute to album number four, Every One of Us. To promote the record, they played a couple of warm up gigs in California before embarking on a British tour during May, where they appeared on Southern Television’s Time for Blackburn, giving Zoot the chance to reunite with his old nemesis from the Pavilion days, Tony Blackburn. On returning to the US, Briggs and McCulloch left, creating a gap for Andy Somers to fill after his sacking from the Soft Machine. He arrived in time for their next show at the ‘Newport Pop Festival’ in Costa Mesa, California, on 4th August 1968.
Almost immediately a new album, Love Is, went into production at Sunset Sound Studios, Hollywood. It contained radical re-arrangements of The Bee Gees “To Love Somebody”, a version of Traffic’s “Coloured Rain” with an excellent acid fried guitar solo courtesy of Somers and an eight-minute re-working of Dantalian Chariots “Madman Running Through the Fields” which only appeared on the American release. Two singles were lifted to help promotion, Johnny Cash’s “Ring of Fire” and Ike and Tina Turner’s “River Deep Mountain High”. Reviews were mainly positive, but on reflection, like a number of records from the period, the drugs hampered the editing process.
In November they left for an ill-fated tour of Japan where the Japanese mafia, ‘Yakuza’, put the frighteners on the band by insisting they perform a further two weeks of gigs, thus generating extra revenue. Understandably they baulked at the heavy-handed tactics and under the threat of violence, left the country tout suite leaving their equipment behind. The incident sounded the death knell for The New Animals, as a disillusioned and burnt out Burdon threatened to leave the music business. Months later he resurfaced fronting the multi-racial funk band War.
Zoot remained in the USA and recorded Welcome to my Head with producer Vic Briggs and several LA session musicians, including drummer Jim Gordon and guitarist Don Peake. To promote the album, he performed a couple of low key gigs in and around L.A. with a pickup band, but nothing came of the album or the band. Returning to England, he recorded the self-titled Zoot Money with Alan Price taking care of production. He formed the Zoot Money Music Band with guitarist Mick Moody, trombonist John Beauchamp and former members of the recently defunct brass rock band Satisfaction: Mike Cotton on trumpet, drummer Bernie Higginson, bassist Lem Lubin and his friend from Bournemouth and ex Big Roll Band saxophonist, Nick Newell.
When the Big Roll Band split, the ever resourceful Newall took his saxophone and flute to the Mike Cotton Sound, an r&b outfit with an authentic black soul singer from Cleveland USA called Bruce McPherson Lucas. In 1970 they dropped Lucas, adopted a progressive jazz / rock direction influenced by Chicago Transit Authority and Blood Sweat and Tears, changed their name to Satisfaction and recorded a highly acclaimed, but commercially doomed self-titled album for Decca. The band carried on regardless into 1971 on the live circuit but ultimately split. Years later guitarist Derek Griffiths stumbled upon a tape box dated April 1971 which contained the master-tapes for a concept piece called Three Stages of Man, written about life on the road while being in a band. The tape was duly handed over to Rich Searle at Acid Jazz and released on CD for the first time in 2014.
After the dissolution Satisfaction, Nick appeared on many recordings throughout the seventies with luminaries such as The Keef Hartley Band, ex-Argent vocalist Russ Ballard, former Savoy Brown singer Chris Youlden, ex-Zombie Colin Blunstone, Leo Sayer and Roger Daltrey. He also had a long association with The Kinks appearing on at least four of their albums. Towards the end of the decade he played with the r&b / funk band Gonzalez formed by Bobby Tench and Godfrey McLean and with Big Chief, a loose collection of jazzers out for a blow. He also became a regular guest with the Barcodes, appearing on three of their albums. He regularly performed with his own Nick Newall Quartet and with the party band Dark Blues for over twenty-five years. Born in Gibraltar, Nick grew up in Bournemouth but remained in London after moving up with Zoot in the sixties. Occasionally he would join his old band leader at his regular gig at the Bulls Head pub in Barnes, London, but he sadly died on 2nd October 2017.
A Selective Nick Newall Discography post the Big Roll Band
Satisfaction Satisfaction: Decca (SKL 5075) 1970
Keef Hartley Band Seventy Seven Brave: Deram (SDL 9) 1972
Mike Fennelly Lane Changer: Epic (EPC 80230) 1973
Colin Blunstone Journey: Epic (EPC 65805) 1974
Chris Youlden Citychild: (SML 1112) Deram 1974
Leo Sayer Another Year: Chrysalis (CHR 1087) 1975
Roger Daltry Ride a Rock Horse: Polydor (2442-135) 1975
The Kinks Schoolboys in Disgrace: RCA (RS 1028) 1976
Russ Ballard Winning: Epic (EPC 69210) 1976
The Kinks Misfits: Arista (SPART 1055) 1978
The Kinks Low Budget: Arista (TC-ART 1099) 1979
The Kinks Live Album: Arista (40 568 8) 1980
Dantalian’s Chariot Chariot Rising: Tenth Planet (TP015) 1995
The Barcodes Independently Blue: Note Records (NCD 1005 2) 2004
The Barcodes With Friends Like These: Note Records (NCD 1012 2) 2006
The Barcodes Live in Session for the BBC: Note Records (NCD 1013) 2007
Satisfaction Three Ages of Man: Acid Jazz (AJX318) 2014
On leaving the highly successful Fleetwood Mac in 1970, Peter Green produced a solo album of free form instrumentals featuring Zoot, Nick Buck on organ, drummer Godfrey Maclean and bassist Alex Dmochowski. Arriving at the studio at ten in the evening, the musicians left six hours later with the album in the can. The End of the Game contained six edited versions of the live jams recorded that night and was a complete departure from Green’s previous band’s output. Out went the concise twelve bar workouts and angst of “Man of the World” and “The Green Manalishi” and in came meandering wah-wah fueled improvisations of varying quality drenched in echo and reverb. To the disappointment of his many fans, it was a somewhat mediocre epitaph to Peter Green’s early career.
In 1971 Zoot picked up work with Centipede, a fifty plus conglomerate of jazz and rock musicians brought together by the pianist Keith Tippett. Robert Fripp produced their only recording, Septober Energy, a double album of four twenty minute plus suites constructed as springboards for much improvisation and free blowing. The cast of players, apart from Keith Tippett, included his wife Julie (née Driscoll) Tippet, Elton Dean and Robert Wyatt from Soft Machine, Ian McDonald and Boz Burrell from King Crimson, Alan Skidmore, Dudu Pukwana, Mark Charig, Karl Jenkins, John Marshall plus Mike Patto, Maggie Nicols and Zoot on vocals. Despite its epic sprawl, moments of utter chaos, passages of brilliance and discordant noise, the Melody Maker and New Musical Express loved it. The majority of the record buying public thought otherwise.
In an era of so called ‘Supergroups’ Grimms was the most unlikely. Rather than a bunch of stellar musos looking for an outlet to flex their musical muscles, Grimms reputation was built around the comedic lyrical talents of John Gorman, Roger McGough and Mike McGear of The Scaffold, Brian Patten and Adrian Henri from The Liverpool Scene and Neil Innes and Vivian Stanshall formerly of the Bonzo Dog Band. The anarchic group’s live shows veered from thoughtful poetry, to zany tomfoolery via a dash of good music supplied by Zoot on keyboards, drummer Michael Giles, Andy Roberts on guitar and Dave Richards on bass and keyboards. The ensuing mayhem can be heard on their album, Live recorded at St. George’s Hall in Liverpool and the Central Polytechnic, London. By the time of the followup Rubber Duck Zoot had been replaced by guitarist Ollie Halsall from Patto and Giles had made way for Gerry Conway from Fotheringay.
For two years at the end of the sixties The Love Affair could do no wrong, scoring five top twenty singles including a huge number one with “Everlasting Love”. Eventually the trappings of fame lost its appeal as dissatisfaction set in when internal bickering upset the group dynamic, constant sniping from critics over the band not playing on their own records appeared in the music press and screaming girls drowned out their concerts. Disillusioned, singer Steve Ellis walked away to pursue a solo career. In 1971 Chas Chandler took him under his wing and produced two singles, the second of which, “Hold On”, featured guitarist Jimmy McCulloch, drummer John Steele from The Animals, saxophonist Howie Casey and Zoot on piano. By 1972 his solo career was floundering, so Steve and Zoot formed the gritty rock band Ellis with bass player Jim Leverton from Fat Mattress, German guitarist Andy (Gee) Gröber and Davie Lutton ex-Eire Apparent on drums. Their Roger Daltrey produced debut, Riding on the Crest of a Slump, delivered nine no frills rock songs in the vein of The Faces or Humble Pie. Ellis’s soulful raspy voice was used to good effect on “Good to Be Alive”, a single co-written by Zoot and Colin Allen plus the radio friendly almost hit, “El Doomo”. For the follow up, Why Not, Mike Vernon took over production and Nick South of Vinegar Joe replaced Leverton on bass after he quit to join Steve Marriott’s Packet of Three. The album didn’t live up to its predecessor, nor did the singles “Open Road” and “Loud and Lazy Love Songs”, partly because of Steve and Vernon butting heads. Gig wise they were busy and appeared on The Old Grey Whistle Test however, their record company was less than enamoured with the poor sales and persuaded Steve to ditch the band and give his solo career another go. He reluctantly agreed, and with the blessing of the other members, they amicably parted company.
The seventies continued in a similar vein, with Zoot jumping from band to band and session to session until 1976, when he joined another former Big Roller, Andy Summers, in the touring band of the unorthodox and slightly barmy Kevin Coyne. He pounded the keys on three albums Heartburn, In Living Black and White and Dynamite Daze, and appeared on an episode of the long running German music TV show Rockpalast. He also secured a one-off gig with Steve Marriott, Ronnie Lane, Mel Collins, Dave Hynes, Jim Leverton and a young Sam Brown making her live debut at the Bridge House Canning Town in a band appropriately labelled Blind Drunk. The chaotic affair was fuelled by much liquid refreshment and featured guest appearances from Sam’s dad, Joe and Chas and Dave. This shambolic bunch of loons and boozers made the Magic Mijits record sans Zoot, who was replaced by Mick Weaver.
In 1980, Zoot resurrected his solo career by signing to Paul McCartney’s MPL label. He recorded the Jim Diamond produced Mr. Money along with guitarist Jim Mullen, saxophonist Dick Morrissey, bassist Nick Young and drummer Paul Robinson. Two songs, “Your Feet’s Too Big” and “The Two of Us” were pulled for singles, but a hit stayed stubbornly out of reach. As the eighties progressed, further sessions and live work came his way, including an invitation from Eric Burdon to augment the original Animals on their comeback record, Ark and subsequent world tour. A live recording from Wembley Arena, Greatest Hits Live, featured Zoot sharing keyboard duties with Alan Price. Over the next twenty years he collaborated, accompanied, produced or recorded with a veritable who’s who of musicians including Georgie Fame, Andy Fairweather-Low, Mike Patto, Chris Farlowe, Pete York, Ian Wallace, John Halsey, Neil Hubbard, Ronnie Johnson, Boz Burrell, Pete Brown, Ruby Turner, Tim Hinkley and Tony Ashton. In 2002 he joined Jerry Shirley, Greg Ridley, Bobby Tench and Dave Colwell in a reformed Humble Pie and in 2005 he recorded and toured with Thunderclap Newman’s Pete Goodall in the Good Money band.
In 2006 Zoot took to the road with Big Roll Band drummer Colin Allen, bassist Colin Hodgkinson, former Keef Hartley Band guitarist Miller Anderson and ex Stone the Crows singer Maggie Bell in the British Blues Quintet. An ongoing concern for five years, the band recorded a CD Live in Glasgow, but called it a day in 2011 with a last jaunt around the UK including a date at the Tivoli in Wimborne with German guitarist Frank Dietz replacing Anderson and special guest Dave Kelly augmenting on guitar. The nucleus of the BBQ, minus Colin Allen but with drummer Pete York, formerly of the Spencer Davis Group, joined up with Deep Purple’s ex keyboard player Jon Lord in his Blues Project. Unfortunately, the band’s life span was curtailed when Lord was diagnosed with pancreatic cancer and Brian Auger had to step in to save several dates in Germany. Sadly, The Blues Project died with Lord in July 2012.
Over the years, Zoot has also dabbled in thespianism. He appeared in a film adaptation of Ronnie Barker’s comedy series Porridge playing the dim-witted inmate Lotterby and as a promotions man in Brian Gibson’s Breaking Glass alongside Phil Daniels and Hazel O’Connor. He also joined a host of stars including Patsy Kensit, David Bowie, Ray Davies, Stephen Berkoff, Robbie Coltrane, Sylvia Syms, Irene Handl, Alan Freeman and Mandy Rice-Davies in Julian Temple’s rock musical Absolute Beginners. A long list of TV credits includes Rutland Weekend Television, Eric Idle’s post Monty Python comedy sketch show where he played Orville, one third of the Fabulous Bingo Brothers along with John Halsey as Wilbur and Neil Innes as Nobby. He also appeared in The Professionals, Shoestring, The Bill, Bergerac, London’s Burning, Boon, Streetwise, The Piglet Files, Forever Green, Eastenders, King and Castle, The Bill and Coronation Street. In 1987 he became the musical director for the television drama Tutti Frutti based around the Scottish rock ‘n’ roll band The Majestic’s. The show brought Emma Thompson and Robbie Coltrane to the attention of the British public. It’s also possible you may have spotted him in a Knorr’s Knoodles advert decked out as a Teddy Boy and as a tourist returning home from Benidorm in a Carlsberg commercial. But that is all in the past, as his days as a jobbing actor are long behind him.
Musically, he just keeps on going. In June 2014 Zoot, Al Kirtley, Paul McCallum, Chris ‘Fergie’ Ferguson, Colin Allen, Howie Casey and Ed Roberts played a benefit gig as the Egg Roll Band at the Bluebirds Club in Longham to raise money for a blue plaque to commemorate the musicians who passed through the door of the old Downstairs Club / Le Disque A Go! Go! in Holdenhurst Road. At the unveiling on 14th September, it seemed fitting that Zoot should do the honours and pull the cord. He has lived for years in Rannoch Road, Fulham with his wife Ronni (she sadly died in January 2017) and daughter Marisa. Over the years it became known as the ‘Rannoch Hilton’ due to the amount of musicians that have kipped on the couch. He’s still recording and his latest album, The Book of Life…I Read It, appeared in 2016. Despite ongoing health problems, the old organ grinder keeps a busy schedule and can still be seen at a venue near you in a revival show or one off gigs with an assortment of his many friends. There is no stopping the life force that is Zoot Money.
Undoubtedly the best of Zoot Money can be found on the recordings he made with the Big Roll Band. There are several CDs available for a taster, but if you want the whole lot and more in one handy package, I highly recommend the four CD box set Big Time Operator released by Repertoire in 2018. It contains all of their studio albums and singles, the live Zoot! album from the Klooks Kleek club and a gig taped at the Flamingo, plus sessions especially recorded for the BBC.
Special thanks go to Zoot Money for additional information and corrections, Al Kirtley for emails and the use of photographs and John Penhale and Roger Collis (RIP) for emails.
A Selective Discography of Zoot Money Recordings
Zoot Money’s Big Roll Band Singles
The Uncle Willie c/w Zoot’s Suite: Decca (F11954) 1964 Credited to a solo Zoot Money
Gin House c/w Rockin’ Chair: Columbia (DB 7421) 1964 Paul Williams and the Big Roll Band
Good c/w Bring it Home to Me: Columbia (DB 7518) 1965
Please Stay c/w You Know You’ll Cry: Columbia (DB 7600) 1965
Something is Worrying Me c/w Stubborn Kind of Fellow: Columbia (DB 7697) 1965
The Many Faces of Love c/w Jump Back: Columbia (DB 7768) 1965 Paul Williams and the Big Roll Band
Big Time Operator c/w Zoot’s Sermon: Columbia (DB 7975) 1966
Let’s Run For Cover c/w Self Discipline: Columbia (DB 7876) 1966
The Star of the Show (The La La Song) c/w The Mound Moves: Columbia (DB 8090) 1966
I Really Learnt How to Cry c/w Knick Knack: Columbia (DB 8172) 1967
Zoot Money’s Big Roll Band EP
Knick Knack: Columbia (ESRF 1874) 1964
Big Time Operator: Columbia (SEG 8519) 1966
All Night Worker: 1960’s Records (REP 20) 2018 Although released on Record Store Day, this is an unofficial rip-off, avoid!
Zoot Money’s Big Roll Band Albums
It Should’ve Been Me: Columbia (33SX 1734) 1965
Zoot!: Columbia (SCX 675) 1966 Live
Transition: Direction (8-63231) 1968
Were You There? Live 1966: Indigo (IGOXCD 518) 1999 Live CD
Fully Clothed and Naked: Indigo (IGOCD 529) 2000 CD of live and solo recordings
A’s & B’s Scrap Book Repertoire (REP 4796) 2003 CD compilation
A Big Time Operator: Castle Music (CMDDD 1219) 2005 Double CD compilation
The Best of Zoot Money’s Big Roll Band: Repertoire (REP 5027) 2007 CD compilation
Big Time Operator: The Singles 1964-66: Wah Wah Records (LPS143) 2014 CD compilation
1966 and All That / Big Time Operator: Repertoire (REP 5343) 2018 Limited Edition 4 CD Box Set of all known Big Roll Band recordings
Dantalian’s Chariot Single
The Madman Running Through the Fields c/w The Sun Came Bursting Through My Cloud: Columbia (DB 8260) 1967
Dantalian’s Chariot Albums
Chariot Rising: Tenth Planet (TP 015) 1995 Limited Edition vinyl of 1,000 copies
Chariot Rising: Wooden Hill (WHCD005) 1996 CD
Chariot Rising: Wah Wah Records (LPS113) 2013 Vinyl
Chariot Rising: Esoteric (ECLEC 2609) 2017 CD
The New Animals Singles
Ring of Fire c/w I’m An Animal: MGM (MGM 1461) 1969
River Deep Mountain High c/w Help Me Girl: MGM (MGM 1581) 1969
The New Animals Albums
Every One of Us: MGM Records (SE 4553) 1968
Love Is: MGM Records (CS 8104) 1968
Zoot Money Singles
No One But You c/w Prisoner: Polydor (2058 020) 1970
Your Feet’s Too Big c/w Ain’t Nothin’ Shakin’ but the Bacon: Magic Moon (MACH 3) 1980
The Two of Us c/w Ain’t Nothin’ Shakin’ but the Bacon: Magic Moon (MACH 6) 1980
Zoot Money Solo albums
Welcome to my Head: Capitol (ST 318) 1969
Zoot Money: Polydor (2482 019) 1970
Mr. Money: Magic Moon / MPL (LUNE 1) 1980
The Book of Life…I’ve Read It: Treasure Island Music (UKCD606) 2016
Good to Be Alive c/w Morning Paper: Epic (EPC 8318) 1972
El Doomo c/w Your Game: Epic (S EPC 1052) 1972
Open Road c/w Leaving in the Morning: Epic (S EPC 1627) 1973
Loud and Lazy Love Songs c/w Goodbye Boredom: Epic (S EPC 1803) 1973
Riding on the Crest of a Slump: Epic (64878) 1972
Why Not: Epic (65650) 1973
The British Blue Quintet Album
Live in Glasgow: Angel Air (SJPCD203) 2007
Zoot Money Albums as a Guest
Peter Green The End of the Game: Reprise (RSLP 9006) 1970
Centipede Septober Energy: RCA Victor (DPS 2054) 1971
Grimms Live: Island (HELP 11) 1973
Brian Joseph Friel Second Hand Dealer: Dawn (DNLS 3054) 1974
Various Artists Atlantic Jazz Express: Atlantic (ATS 20082) 1974
Brian Joseph Friel Arrivederci Ardrossan: Dawn (DNLS 3064) 1975
Kevin Ayres Yes We Have No Mananas: Harvest (SHSP 4057) 1976
Kevin Coyne Heartburn: Virgin (V 2047) 1976
Widowmaker Widowmaker: Jet Records (JET LP 15) 1976
Kevin Coyne In Living Black and White: Virgin (V 2505) 1977
Eric Burdon Survivor: Polydor (2344 084) 1977
Kevin Coyne Dynamite Daze: Virgin (V 2096) 1978
Alexis Korner & Friends The Party Album: Castle Classics (CLA CD290) 1979
The Animals Ark: I.R.S. Records (SP 70037) 1983
Georgie Fame & the Blue Flames My Favourite Songs: Teldec (6.25646 LF) 1983
The Animals Greatest Hits Live: I.R.S. Records (SP 70043) 1984
Farlowe, Davis, York, Hodgkinson, Money, Anderson Extremely Live at Birmingham Town Hall: Inakoustic (INSAK 8905CD) 1988
Alan Price and the Electric Blues Company A Gigsters Life for Me: Indigo (IGOCD 2048) 1995
Various Artists Alexis Korner Memorial Concert Vol 2: Indigo Records (IGOCD 2051) 1995
Various Artists Confessin’ the Blues: Indigo Records (IGOCD 2020) 1995
Various Artists Rattlesnake Guitar: Coast to Coast (CTC 0205) 1995
Kevin Ayers Too Old to Die Young: Hux Records (HUX 006) 1998
Ruby Turner Call Me by My Name: Indigo Records (IGOX CD511) 1998 Producer
Woodstock Taylor and the Aliens Road Movie: Cuppa Records (CUPCD7) 2002 Producer
Humble Pie Back on Track: Sanctuary (SANCD 106) 2002
Thunderclap Pick N’ Tell: Speakeasy (SPEA 001) 2005
John Lord Blues Project John Lord Blues Project Live: MFP (SC 10022011) 2011