


His first record, ‘Rock With The Caveman’, was climbing the charts (it would peak at No.13, in November ’56), he’d made his TV debut on Off The Record, he’d recorded a cameo appearance in a movie, Kill Me Tomorrow, he was out on tour with his new backing group, The Steelmen, and Larry Parnes was on a self-induced crash course on how to manage a teenage idol. Within just a couple of weeks, Tommy Steele was well on his way. Hicks had been underage when he’d signed his original contract – he was still just nineteen – at which point Parnes and Kennedy approached his parents with a new, legal management contract, and took over. Kennedy had instinctively realised that Hicks possessed genuine star quality, and he wanted to muscle in on the action. It transpired that a small-time management team had hired Kennedy to drum up publicity for a young merchant seaman, Tommy Hicks, a singer/guitarist who was playing the various Soho coffee bars and clubs, where he’d already built a bit of a reputation. Afterwards, when he was introduced to me, he said ‘I understand, guv, that you’re going to be my new manager?!’ It all happened very quickly!” I said that I didn’t know what Rock’n’Roll was – which I didn’t, in those days – and he said ‘Well, it’s something that’s going to be very big… I’ve seen this boy I think has got talent… I need a businessman behind me… would you come and see him?’ I went into this little coffee club to see him work, that night, and I thought there was something tremendously exciting about him. Several months later Parnes’ and Kennedy’s paths crossed again, in unlikely circumstances – as Larry later recalled: “He (Kennedy) met me one night in the street and asked me what I thought about Rock’n’Roll. It subsequently ran for many months and Parnes would later comment: “I got my money back and made fifteen shillings profit.” From a standing start, with no experience whatsoever, he became the most powerful man in UK Pop (a contemporaneous BBC Panorama documentary described him as a ‘Beat Svengali’), active as a manager, agent, impresario and music publisher just about the only area he didn’t get involved with was records, presumably because artists’ royalties in that era were so poor (and his 50% of next-to-nothing would have been negligible!) Due to his spectacular successes, some wag christened him “Parnes, Shillings And Pence” (most sources attribute this to Marty Wilde), a nickname which subsequently stuck throughout his life.Ī well-heeled young man, with ambitions to get into the entertainment industry (his passions were musicals and the theatre), Parnes had made his money in the rag trade and was persuaded to invest in a touring play, Women Of The Streets (originally titled The House Of Shame), which earned some notoriety (not to mention national press coverage) when the show’s publicist, John Kennedy, hired a couple of actresses to stand outside the theatre, dressed as prostitutes.

Rock’n’Roll was very much in its infancy in the UK and he had no real competition, therefore there were no ‘rules’ either for him to follow, or to break. Generally speaking, success owes everything to good luck and good timing, and Laurence Maurice Parnes (3rd September, 1929 – 4th August 1989) was perhaps the classic case of a man being in precisely the right place at the right time. Indeed, without Parnes (and certainly, without Good!) UK R’n’R would have been an entirely different proposition… one which hardly bears contemplating!!! Metal, Melodic Rock, AOR, Hard Rock, Prog, Classic Rock news, reviews, samples, video and more.With the notable exception of the mighty Jack Good, Larry Parnes was very probably the most important non-performing figure in the history of UK Rock’n’Roll. Billy Fury The Sound Of Fury Rare Diseases A medical examiner ruled his death a suicide, but Cornell's wife Vicky Cornell has pushed back against that. It was over half a century ago in 1958, as Lonnie Donegan was ruling the charts with Soundgarden's Chris Cornell died last week at age 52. What's the only type of woman more dangerous than a Mama Bear? A woman who's been dumped, cheated on, or. The Woman Scorned trope as used in popular culture.

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