Showing posts with label England. Show all posts
Showing posts with label England. Show all posts

Monday, May 4, 2015

Whiskeydick Review From Oxford England - "...A Cross Between Pantera and David Allan Coe

Whiskeydick Review From Oxford England - "...A Cross Between Pantera and David Allan Coe

"We're just a train-robbin', gun-totin', dope-smokin', guitar-pickin', muthafuckin' good time band, taking hillbilly music and spreading it across the land," is how Fort Worth, Texas duo Whiskeydick describe themselves, which is as good as anything Nightshift can conjure to describe their soulful blend of outlaw country and metal, played by two big, bearded, heavily-tattooed blokes armed with acoustic guitars and sat on wooden folding chairs for the duration of their shows. With deep, rich, rootsy vocals and plenty of guitar heroics, the pair - Fritz and Reverend Johnson - sound like a cross between Pantera and David Allan Coe, and if it's not the kind of thing you'd normally expect to see at a Buried In Smoke show, the fact that Whiskeydick have shared a stage with Honky, Weedeater, and Nashville Pussy shows they can hold their own in the heaviest company. Which is good since tonight's local supports are Didcot's Super-heavyweight groove crew Mother Corona and new local stoner-metal outfit Indica Blues, two bands who bring classic rock sounds into the modern age with extreme force." - Nightshift, Oxford England

Read more articles on Oxford


Whiskeydick Review From Oxford England - "...A Cross Between Pantera and David Allan Coe

Tuesday, April 9, 2013

The Rag And Bone Man Creates New From Old


There is something that is just raw, beautiful and primal about old cast metal pieces. Maybe its the fixation we have towards all things mechanical and motorized. In all reality, one of the big elements that forever attracts us to pieces such as the ones being showcased, is the utilitarian aspect. 

Form can follow function or maybe function follows form, really just depends on the mindset and how an item is to be used. From a utilitarian aspect, seeing all of these spare parts re-purposed into a brand new identity, is refreshing and a great way to think on recycling.

As so much of our culture becomes throw away plastic items, viewing old valve covers as lamps and engine cylinder heads as a solid base for a lighting platform, gives hope that craftsmen are still hard at work world wide. They are putting new life into items that will far outlive their owners and fulfilling the notion that new doesn't necessarily mean better.

Check out the Rag and Bone Man


"Paul Firbank is a modern craftsman. Based in the East End he sorts and sifts through London’s scrap yards, railway arch grease shops and thrift markets looking for the remains of outmoded modern metal parts and vintage engineered machinery that represent fragments of British industrial history…

Building upon the past Paul creates something unmistakeably contemporary. Using traditional metalwork techniques and his time-honoured machinery, he restores, welds, turns, strips, brushes, polishes and varnishes, transforming these discarded scraps into bespoke pieces of contemporary lighting and furniture. 



Paul develops each piece meticulously, subtly responding to the materials he has found to create something familiar yet modern and unique. Inspired by things that last Paul’s work have been described as future heirlooms and have begun to create a legacy of it’s own.

The launch of The Rag and Bone Man at Tent London 2011 as part of London Design Festival has led Paul to work with private individuals, interior designers, artists, architects, collectors and on international commissions. His works have also been featured in The Times, The Telegraph, Living Etc, and Elle Decoration"


The Rag & Bone Man from Make Your Bones on Vimeo.

Thursday, April 4, 2013

The Flying Millyard Or The Coolest New V-Twin Motor

Recognize the engine? Used to seeing it in this format, now check it out as a V-Twin
"This is the first test run of my 5 litre V Twin engine based on two Pratt & Whitney R1340 aircraft cylinders, all other parts are hand made including the crankshaft, con rods and crankcase wooden moulds, the crankcases were then cast in aluminium. The engine runs a dry sump with twin pumps, twin SU carbs, points ignition with manual advance / retard and twin plugs per head."

Check out Cyril Huze's Blog for the original link and a lot of other great stories

Sunday, March 31, 2013

Rory Kelly Featured As Most Viewed Artist In England

Hard work always pays off and especially when it is aligned with raw talent. Rory Kelly is always on the move and making things happen with his music and by also having a positive attitude on everything. For this and many other reasons we find it damn cool when sites such as Music Talkers pops up and showcases him as a most viewed artist. With three tours under his belt in Europe, it is just about time to hit up jolly ol 'England and win over a plethora of more fans.


Rory Kelly featured as one of the most viewed artists on Music Talkers out of the UK

Wednesday, February 27, 2013

Will Amazing Radio Become The David That Topples Goliath?

Technology is a friend to us all. It has made our lives easier in so many facets. One of the biggest areas that we enjoy the most is access to an unprecedented amount of music world wide. Without youtube our days of enjoying new videos would come to a grinding halt. 

There is change afoot and especially in the way we listen to music. Terrestrial radio is full of crappy playlists that only appeal to folks who want to hear pop hits. Real music enthusiasts have to focus their energy on finding new stations online or seeking out new bands far and wide. There is a company in England called Amazing Radio and they are making quite the headway into becoming a new type of Muzak, but far more compelling.

Find out more on Amazing Radio

Link to original post on cnet.com

"CEOs of digital music startups often strive for diplomacy when it comes to talking about the major powers that control most of the world's music. Not Paul Campbell. 

"Simon Cowell is Satan, and the major labels have become antique dealers," says Campbell, a 53-year-old former BBC TV and radio producer turned entrepreneur. "We don't touch the labels and never shall. The key is to cut yourself free from the labels." 

Which is exactly what Campbell has done with his company, Amazing Media, and it's why he's having such success. 

Unless you're really into new music, or live in the U.K., where Amazing Media has created quite a stir for reasons I'll get into in a moment, you've probably never heard of Amazing Media. But the way Campbell is going, that's soon likely to change. His business has piqued the interest of big Silicon Valley venture capitalists; he's in talks with major consumer Web businesses to distribute Amazing music; and he's on track to launch a radio station in the U.S. in the coming months. 

Campbell, in work mode. (Credit: Amazing Media)
In fact, what began five years ago as a simple Web site to let unknown musicians upload and sell their music has grown into a burgeoning business unlike any of the others trying to take advantage of the chaotic music industry. Amazing Media also does something else that sets it apart from the likes of Pandora, Spotify, SoundCloud, and all the rest: it makes money. 

Campbell, a professional drummer since he was a kid, began thinking about the opportunity in music back in 2005. Technology had made it supercheap to record and produce music, but it was still a monstrous challenge to get your music heard. It was an even bigger challenge to make any money from it. 

He wanted to change that. Campbell assembled a small team and, working from the top floor of a Victorian building in Newcastle, England -- the home town of Sting and The Animals -- started building Amazingtunes.com, a site where musicians could upload and sell tracks and get paid 70 percent of the price. 

That might sound like a bad deal for Campbell, certainly compared with the big labels, which typically pay musicians about 8 percent of the sale price. But his main goal was to build the catalog of music and win customers. Plus, musicians who used the site gave Amazing the rights to use their music for promotional purposes. "The idea was to be fair to the musicians," says Campbell. "And we deliberately gave margin away to attract users." 

The site launched in 2007, and the first couple of years were slow going. This was pre-Twitter -- even pre-Facebook, to some degree -- and it took a while to amass much of an audience. Gradually, though, more and more musicians joined, and competitors emerged. Amazingtunes.com gained enough traction and buzz that in 2008, Richard Branson's Virgin Media tried to take over the business for an undisclosed amount. Campbell wouldn't sell. 

Amazingtunes.com is similar to well-backed SoundCloud or BandCamp, sites that also let musicians push their music out across social networks and the Web. But Campbell takes things a step further. A few steps, actually.
AmazingRadio and AmazingTunes.com are working to create a level playing field for musicians
In 2009, he launched a commercial-free, national radio station to play 100 percent new music, a strategy that anyone in the radio industry would have told him was crazy. Campbell did this as a promotional tool to drive people to Amazingtunes.com, which would supply all the music for the station. Amazing Radio, which broadcasts on Digital Audio Broadcasting (DAB) and via the Internet, effectively became a 24-7 marketing channel for Amazingtunes.com. 

Campbell had no marketing budget for the station. Instead, he and his team took to the streets and got passersby to record promos. The station also had no DJs. It just played programmed tracks, like a jukebox. 

The algorithms, along with the fans, did the work. The best songs on Amazingtunes.com -- as measured by how many people listened to, purchased, and liked them (in the Facebook sense) -- bubbled up and got featured on Amazing Radio. If no one played a song, it got ignored.
Next, Campbell beefed up the station by signing on some known musicians and DJs to host regular programs. The station fuels the Web site, where people purchase songs, and vice versa. It's a powerful cycle. 

Today, Amazingtunes.com boasts music by 65,000 artists, some of whom are now signed to indie labels. Musicians, even those signed to labels, agree to give Amazing the rights to air the music for obvious reasons: they want the exposure, and it boosts their download sales. 

The mix of software and DJs has turned Amazing Radio into a powerful force in emerging music of all styles -- not just in the U.K. but also in the U.S, where people can listen via the Web or mobile apps, which, incidentally, a fan built for free. 

"I haven't met a good manager in the recent past that hasn't brought up Amazing Radio," said Daniel Glass, whose New York-based Glassnote Entertainment just signed a band called Daughter, which has been heavily promoted on Amazing Radio and that Glass expects to be big in the U.S. 

Radio row
Amazing Radio is also the source of the "stir" I mentioned at the beginning of this article. A couple of weeks ago, Campbell got into a fight with the company that broadcasts the station, over the terms of their contract. Campbell wouldn't budge, and at midnight on May 14, Amazing Radio went dark. 


Designed by a fan fighting to get Amazing Radio back on the air. (Credit: Amazing Media)
Fans weren't pleased. Campbell had taken to Twitter to announce what was happening, and within an hour, the outrage began. One fan launched an online petition, another created a Facebook page, plenty others wrote to members of Parliament and major newspapers. 

In the subsequent days, Amazing launched a new logo -- "Keep the Faith" -- that a fan designed unsolicited and sent to Campbell. The company also began selling T-shirts with the logo and is using the money as a prize for a Keep the Faith band competition it's holding next week. 

The whole thing has turned into a major publicity event for Amazing Media, with people from indie labels around the world also voicing support. It's also once again reinforced to Campbell that he's doing something people care deeply about. 

"This is not about whether we're on the radio in the U.K.," says Campbell. "It's about how musicians find an audience in the modern world." 

And how music fans find new music, which in Amazing's world means a mix of crowdsourcing, knowledgeable DJs, and algorithms -- a formula that goes beyond creating playlists of known music that you share with friends on Facebook. 

"It's nice to be able to be your own DJ," says Billy Mann, a top producer and music exec who has written songs for Pink and Jessica Simpson, "but there is a place for good taste-makers, especially in the sterile digital world we're living in." 

Muzak with an edge
Just after Campbell launched the radio station, a store owner e-mailed him asking if he could use music from Amazing in his shop as background music. That led Campbell to develop a new part of the business, called Amazing Instore. It's also the part that's financially fueling the rest of the company, which, while still small, is on track to make $3 million this year in profits. (Spotify can't claim that). 


Because most of the music on Amazing isn't bound by publishing deals, Campbell is free to license it. His only commitment is to pay the artists, who Campbell says make 120 times what they earn from having their songs streamed on Spotify, based on what some musicians who work with both Amazing and Spotify have reported to him. 

Amazing launched the store business in 2010, and Campbell quickly realized how lucrative it could be. Amazing customizes the music for each client, so what you hear in a clothing store will be different than what you hear in a restaurant. In some case, clients want ads -- maybe to promote sales going on -- and Amazing creates those as well and builds them into the sound track. 

A fan built Amazing's mobile apps for free.
This leads to three revenue streams: a license for the technology, the music, and the ads. Only the music fees get shared with the artist, and the terms vary. This new business helped the startup enough that Campbell changed the terms of Amazingtunes.com, so that the musicians get 100 percent of the price (Campbell also did this to compete with Bandcamp, which gives the artists 85 percent of sales). 

Amazing now has deals with more than 1,000 retailers and restaurant chains across the U.K., and Campbell has been meeting with chains in the states to try to crack the U.S. market. 

He's gunning hard to take on the U.S. on many fronts. He won't share details about his plans for a U.S. radio station, other than saying it will launch either in Boston, New York, San Francisco, or Los Angeles. He's brought on Ted Cohen, a pioneering digital music exec, who's been trying to cut deals with AOL, Yahoo, and others to boost the audience for emerging artists and for Amazing. So far, says Cohen, "The reaction has been unbelievably favorable." 

And Campbell is in talks with big VC firms, including Kleiner Perkins Caufield & Byers and Mayfield Partners, as he seeks to raise $30 million to fund expansion in the U.S. (to get this far, he raised $8 million from private investors). 

"The basic pitch is this is a bold and imaginative idea that will either fall flat or become a billion-dollar business," says Campbell, who has 26 full-time employees. "It won't be anything in the middle. We're trying to reinvent the music industry." 

That will mean adding more lines of business, and becoming more global. Already, Amazing is working with festivals across the U.K, and it's starting to put on concerts that it records and broadcasts. It plans to edge into more traditional revenue streams such as publishing, merchandise, and ticketing and will likely add its own label, even releasing albums. With the goal remaining that of bringing good musicians to the world, and helping them make a living."

Tuesday, November 22, 2011

1950 Vincent Shadow, Rapide and Comet Series C, Unrestored Originals

Unless you are buying from a large auction seeing three original Vincents for sale together is a rare occasion. The wonderful world of ebay is shedding some light on new found treasures for a lucky collector. Well, a lucky collector with about 150k to burn that is. This is a rare find and dig into more info on these bikes.


1953 Black Shadow, Correct #'s Everywhere, Unrestored And Low Miles, Repainted Gas Tank In 1953+- Other Wise Untouched. 762 Miles On The Clock!

1954 Touring Rapide, All Correct #'s,unrestored In Original Paint, Some Changed Hardware, Otherwise Untouched. Could Be A 1955 Version "C", As Of The High #? 10633 Miles On The Clock
 

1950 Comet, Again All Correct #'s, Unrestored Original, Even The Red Might Be? Special Order?-7253 Miles On The Clock
Collection of Vincent Motorcycles up for bid on ebay
1950 Vincent Comet
1950 Vincent Comet
Collection of Vincents up for auction
1953 Vincent Black Shadow
1954 Vincent Touring Rapide
1954 Vincent Touring Rapide
1953 Vincent Black Shadow
1953 Vincent Black Shadow

Vincent Motorcycles was a British manufacturer of motorcycles from 1928 to 1955. Their 1948 Black Shadow was at the time the world's fastest production motorcycle.[1] In 1955 the company discontinued motorcycle production after experiencing heavy financial losses.
Vincent Motorcycles, "the makers of the world's fastest motorcycles", began with the purchase of HRD Motors Ltd less the factory premises, by Phil Vincent in May, 1928.


HRD was founded by the British Royal Flying Corps (RFC) pilot, Howard Raymond Davies, who was shot down and captured by the Germans in 1917. Legend has it that it was while a prisoner of war that he conceived the idea of building his own motorcycle, and contemplated how he might achieve that. It was not until 1924 that Davies entered into partnership with E J Massey, trading as HRD Motors. Various models were produced, generally powered by JAP (JA Prestwich Industries) engines.


Unfortunately, although HRD motorcycles won races, the company ran at a loss. In January 1928 it went into voluntary liquidation. The company was initially bought by Ernest Humphries of OK-Supreme Motors for the factory space, and the HRD name, jigs, tools, patterns, and remaining components were subsequently offered for sale again.

Models


Meteor and Comet


The standard motor was known as the Meteor and the sports motor was the Vincent Comet; it was distinguished from earlier Vincent models of that name by the “Series-A” prefix. There was a TT replica & the Comet Special (basically a TTR with lights, horn etc.), which used a bronze head.[4] The Meteor motor produced 26 bhp (19 kW) @ 5300 rpm,

An unusual feature of the valve design for these motors was the double valve guides, and the attachment of the forked rocker arm to a shoulder between the guides, to eliminate side forces on the valve stem and ensure maximum valve life under racing conditions.

The Series-A Comet could do 90 mph (140 km/h), but Phil Vincent and his racing customers wanted more.

1936 Series A Rapide



Vincent Series 'A' Rapide
Legend has it that Irving accidentally put a side-view tracing of the Vincent 500 motor wrong way up on top of an equally sized drawing of the same view of the same motor, and saw, moving the tracing so the crankshafts and idler gears coincided, that the result looked like a possible design for a V-twin. This resulted in the 47.5° V twin which appeared in 1936. (The single leaned forward 23.75°.)


With 6.8:1 compression, it produced 45 bhp (34 kW).


The Vincent V-twin motorcycle incorporated a number of new and innovative ideas, some of which were more successful than others.


The Vincent HRD Series A Rapide was introduced in October 1936. Its frame was of brazed lug construction, based on the Comet design but extended to accommodate the longer V twin engine. It continued the use of "cantilever" rear suspension, which was used on all Vincents produced from 1928 through 1955. Other innovations included a side stand.

Pneumatic forks were not to be a Vincent innovation, with both Phils believing girder forks were superior at the time. The Series-A had external oil lines and a separate gearbox.

The 998 cc Series A Rapide Vincent cost $600, produced 45 hp (34 kW), and was capable of 110 miles per hour (180 km/h).


The high power meant that the gearbox and clutch did not cope well.[6]

Specifications


  • Engine – 998 cc, 47.5 degree v-twin ohv four-stroke
  • Bore and Stroke – 84 x 90 mm
  • Compression Ratio – 6.8:1
  • Power – 45 bhp (34 kW) @ 5500 rpm
  • Produced – 1936–1939
  • Wheelbase – 58.5 inch
  • Dry Weight – 430 lb (200 kg)
  • Carburettor – 1.0625 inch Amal
  • Gearbox – Burman 4 speed, triplex chain primary, wet multiplate clutch
  • Frame – Brazed lug duplex tubular cradle. Cantilever rear springing
  • Front forks – Brampton girder forks
  • Top Speed – 110 mph (180 km/h)

1946 Series B Rapide


The Series B Rapide designed during the war and released to the press before end of hostilities looked radically different from the A: now the oil pipes were internal, and the gearbox was part of the engine casting (Unit Construction). The angle between the cylinders was now 50° instead of the 47.5° of the Series A engine. This allowed the use of the engine as a stressed member of the frame, which consisted of an oil-tank spine with the engine hanging below, and the front and rear suspension attached at the ends. This was considered sensational at the time, and the arrangement was not seen again till the late seventies. The use of the engine-gearbox unit as a stressed member became more usual. Brakes were dual single-leading shoe (SLS), front and rear. The 55.5-inch (1,410 mm) wheelbase was three inches (76 mm) shorter than the Series A, and its dimensions were more like a 500 cc bike of the time.


A more modern hydraulic shock absorber and spring assembly later replaced the old twin springs and friction damper. The rear seat was supported by a sub-frame down to the rear frame pivot point, providing a semi-sprung seat with 6 inches (150 mm) of suspension. (Yamaha would rediscover this suspension system nearly 40 years later.)

The Series B had a Feridax Dunlopillo Dualseat, and a tool tray under the front.[7]

The Series "B" incorporated an inline felt oil filter instead of the metal gauze of the Series "A".


Vincent used quickly detachable wheels, making wheel and tyre changes easier. The rear wheel was reversible, and different size rear sprockets could be fitted for quick final-drive ratio changes. The brake & gear shift were adjustable for reach to suit individual feet. The rear mud guard was hinged to facilitate the removal of the rear wheel.


From today's perspective, it seems incongruous that Vincent could see the need for, and design, a cantilever rear suspension, as well as incorporate so many other new ideas, yet use Brampton girder forks with friction dampers up front. The two Phils felt that the telescopic forks of the time were prone to lateral flex, so they persisted with girder forks, and did use hydraulic damping in the Series C "Girdraulic" forks.


Starting in 1948, Indian Motorcycles distributed Vincents in the United States along with other British motorcycles including AJS, Royal Enfield, Matchless and Norton Motorcycle Company.[8] That same year an Indian Chief was sent to Stevenage to be fitted with a Vincent Rapide engine. The resulting hybrid Vindian did not go into production.

1948 Series C Vincents, "Black Shadow" and "Black Lightning"



Vincent Black Lightning from 1950 at the Zweirad-Museum Neckarsulm


The 1948 Series C Rapide differed from the Series B in having "Girdraulic" front forks – which were girder forks with hydraulic damping.[9] By 1950, the Series C featured a 998cc, 50-degree V-twin that put out between 45 and 55 horsepower, depending on the state of tune (Rapide or Black Shadow).[10]


The Black Shadow, capable of 125 mph (201 km/h), and easily recognised by its black engine and gearbox unit, and large 150 mph (240 km/h) speedometer, was introduced. The engine produced 54 bhp (40 kW) @ 5700 rpm in Black Shadow trim.

The Black Lightning was a racing version of the Black Shadow; every necessary steel part on it that could be was remade in aluminium, and anything not essential was removed altogether. These changes helped reduce the weight from 458 lb (208 kg) to 380 lb (170 kg). Every bit the racer, it had a single racing seat and rear-set footrests.

The 500 cc Meteor and Comet singles were introduced, along with a 500 cc racer, the Vincent Grey Flash. The Grey Flash racer used Albion gears, for the greater choice of ratios available.[11] The 500 cc bikes used a wet multiplate clutch, while the 998 cc V-twins used a dry, drum-type servo clutch.

Most Vincents were painted black. In 1949 a White Shadow (a machine to Black Shadow mechanical specification, with the Rapide colour scheme) was available, but only 15 were sold, and the option was dropped in 1952. In 1950 16 Red Comets were shipped to the United States. There were also 31 of the 1948 Grey Flash built.[12]

From 1949 HRD was dropped from the name, and the logo now simply read "Vincent".

Specifications


  • Make: Vincent HRD
  • Model: 1948 Series C Black Shadow
  • Engine: 998 cc (84 x 90 mm bore and stroke) 50° OHV V Twin, 7.3:1 CR, polished conrods
  • Carburetor: 2 x 1.125-inch (28.6 mm) type 29 Amals
  • Ignition: Lucas Magneto (1955 models: Kettering ignition)
  • Electrics: 6v 45w dynamo
  • Lubrication: Dry sump, 3 US quarts
  • Gearbox: Integral Vincent four speed, triplex chain primary, dry servo – drum clutch
  • Final Drive: 530 chain, 46/21 sprockets
  • Tyres: 3 x 20 in front, 3.50 x 19 in rear
  • Wheels: Front: 1.65 x 20 in. steel rim; Rear: 1.65 x 19 in. steel rim.
  • Frame: Spine frame with engine as stressed member
  • Rear Suspension: Cantilever rear springing
  • Front forks: Vincent Girdraulic forks, 3" travel
  • Brakes: Twin drums, 7 in diameter in front and rear, single leading shoe 7/8" wide.
  • Weight: 458 lb (208 kg) – 206 kg Wet – 500 lb (227 kg)
  • Wheelbase: 55.5 in. (1415 mm)
  • Seat height: 32.5 in. (826 mm)
  • Performance: 125 mph / 201 km/h – 55 bhp (41 kW) at 5500 rpm
  • Fuel Capacity 3.5 gallons / 16 litres
  • Manufacturer: The Vincent-HRD Co. Ltd., Great North Road, Stevenage, Herts

1954 "Series D" Vincents



Vincent power land speed record holder Rollie Free featured in one of the most iconic photographs in motorcycling history.


The term "Series D" was not used by the factory, but was taken as a natural progression by the motorcycling world. With sales falling, Vincent tried building two new high-speed touring models; the fully enclosed Vincent Victor (an upgraded Comet), the Black Knight (an upgraded Rapide) and the Vincent Black Prince (an upgraded Shadow). They were poorly received by the public. A short-lived unfaired version of the Black Prince was then produced. There was still a Series D Comet.


Rolland "Rollie" Free (November 11, 1900 – October 11, 1984) was a motorcycle racer best known for breaking the American motorcycle land speed record in 1948 on the Bonneville Salt Flats, Utah. The picture of Free, prone and wearing a bathing suit, has been described as the most famous picture in motorcycling [13] and Russell Wright won another World Land Speed Record at Swannanoa with a Vincent HRD motorcycle in 1955 at 184.83 mph (297.46 km/h).


However, sales declined further after the post war motorcycling boom owing to the availability of cheaper motor cars, so not many "Series D" models were made.

Fireflys, Three Wheelers, and NSU


The Firefly was a 45 cc "clip on" engined bicycle built from 1953 to 1955 under licence from Miller, who were suppliers of electrical components to Vincent. It was also known as the Vincent Power Cycle. The Vincent Owners Club was predictably surprised by this new, cheap, entry-level Vincent. By 1954, Vincent Motorcycles was in an increasingly difficult situation. In the quest for solvency, Vincent looked for ways to improve their position. The trike idea was revived. In 1932 "The Vincent Bantam" was first introduced: Vincent's first 3-wheeler, powered by a 293 cc SV JAP or 250 cc Villiers engine, was a 2.5 cwt delivery van which used a car seat and steering wheel rather than the standard motorcycle saddle and handlebars. The Bantam was priced at £57-10-0 with a windscreen and hood available for an additional £5-10-0. It ceased production in 1936 – the first year of the Series A motorcycle.



NSU-Vincent Fox

In 1954/1955, due to falling sales of motorcycles, the prototype 3-wheeler powered by a Vincent Rapide 998 cc engine was produced. (Some years later,the vehicle was named "Polyphemus" by its owner, Roy Harper.) To keep development and production costs low, it used a parts bin-approach, including pieces from Vincent motorcycles, as well as wheels which came from a Morris Minor. The body was made from 16-gauge aluminium. With the standard Rapide engine, "Polyphemus" could reach 90 mph (140 km/h). Before it was sold, in the hands of Ted Davis, it achieved 117 mph (188 km/h) with a Black Lightning engine. The “Vincent 3-wheeler” was eventually sold to a member of the public for £500 – a high price for any vehicle at the time (the BMC launched four years later for £497), especially for a vehicle with no reverse gear, self starter or hood.[2]

Unfortunately Vincent motorcycles were hand-built and expensive – only a total of 11,000 machines were sold post-World War Two. A sales slump in 1954 forced the company to import and sell NSU mopeds. 160 two-stroke Foxes NSU-Vincent 123 cc were built. There were also 40 98cc OHV four-stroke NSU-Vincents, and Vincent also sold the "NSU Quickly" moped; too well it appears (selling about 20,000 in one year – a foot note to how the market had changed again), as NSU took control of its own sales after a year.

The Last Vincent Motorcycle


At a Vincent Owners' Club dinner in the summer of 1955, Phil Vincent announced that the company could no longer continue in the face of heavy losses and that production of motorcycles would cease almost immediately.[16]


In 1955, one week before Christmas, the last Vincent came off the production line and was promptly labeled "The Last."

Sunday, November 13, 2011

Cafe Racers Humble Beginnings With The 59 Club

The Velocity channel or formerly known as Discovery HDT is now in its second season of airing Cafe Racer TV. The whole premise of these bikes goes back to London and the Ace Cafe and also the 59 Club. Here is quite a bit more info on the 59 Club and some iconic photos we found over on Retronaut.

The 59 Club



‘A few years ago I had the good fortune to meet a legend in motorcycling circles, Father Bill Shergold – aka ‘Farv” – who helped found the 59 club. Here’s some pictures he gave me of Rockers in the 1950s and 1960s in the UK’
- Oliver Hulme



This capsule was curated by Oliver Hulme

Go The 59 Club main site

More info on the 59 Club, from Wikipedia

The 59 Club, also written as The Fifty Nine Club and known as "the '9", is a British motorcycle club with members internationally.

The 59 Club started as a Church of England-based youth club founded in Hackney Wick on 2 April 1959, in the East End of London, then an underprivileged area suffering post-war deprivations. It is notable for its adoption by the British motorcycling subculture known as "rockers" in the early 1960s, its badge taking on an iconic value.

History

It was started by Curate John Oakes, who went on to become the Canon of St. Brides in Fleet Street. Leadership duties at different times were later taken over by Father Graham Hullett, William Shergold and Mike Cook. The club became well known, and attracted luminaries such as Sir Cliff Richard, Dame Elizabeth Taylor, Princess Margaret and Lord Snowdon to its opening night, and later many motorcycling sportsmen and musicians. Its trustees included Bishop Trevor Huddleston, the famous anti-apartheid campaigner. For British motorcyclists, it was famous for being one of the first places in the UK to preview the previously banned biker movie The Wild One, in 1968.[1]

From 1962 to the early 1970s, the club enjoyed fame as the top hang-out spot for British rockers and motorcyclists, and overall it created a positive archetype for the young members to follow, in the bad boys made good vein. At the time, the rockers were considered folk devils, due to their clashes with scooter-riding mods (see Mods and Rockers). The club had to split in two to keep both sides apart; the mods staying in Hackney Wick, and the rockers moving to a church property in Paddington in the West End of London. During its 1960s heyday, the club may have been the largest motorcycle club in the world, with over 20,000 members, who had to sign up in person. Members came from all over the UK, and even Europe.

By the late 80s, the 'Rocker Reunion Movement had started and a number of enthusiasts, young and old, started a 'Classic Section' with the club, a sub-group of members dedicated to upholding the 1960s rockers subculture (fashion, music and motorcycles).
The 59 Club attracted both male and female members and, according to Father Graham Hullett, its success was based on its almost entire lack of rules. Besides motorcycles and 1950s rock and roll, the club involved activities such as football and sub-aqua diving — which gave the youths, mainly from underprivileged backgrounds, an outlet for their energy. Each year, the club organised ride-outs to famous winter motorcycle rallies such as The Dragon Rally in Wales, The Elephant Rally at the Nürburgring in Germany, and to the Isle of Man TT races. The 59 BBQ event still occurs every year at TT in Laxey.

Towards the end of its heyday, the club saw the birth of a very different type of motorcycle club; American-style outlaw motorcycle clubs such as the London-based Road Rats and the California-originated Hells Angels. The rise of these groups, which tended to cater to an older, tougher, and sometimes criminal crowd, pretty much marked the death of the 1960s rockers culture.

Present Day

The club still exists in London, and has a large international following. Father Bill Shergold, remembered by Len Paterson, an original Rocker, 59 Club member and founder of the Rocker Reunion movement, as being like “a father figure that many of the boys never had”,[2] was the president until he died aged 89 in Wells, Somerset in May 2009 [2][3] The chairman is currently Father Scott Anderson. The current committee openly accepts rockers. Father Graham Hullet was recently interviewed for BBC Radio 4 Home Truths programme when he spoke of the club's heyday. Now retired, Father Hullett left the club in the early 1970s over a matter of principle which he is too gentlemanly to discuss and had been written out of the club's history by the other parties until recently.[1] The 59 Club moved from Yorkton Street in Hackney to Plaistow, London and meets twice weekly.

It remains a registered charity as established in 1965, and has evolved into a place where families and individuals are welcome. The difficulties and expense of getting a motorcycle licence has pushed the membership age upwards, but members aged 18 to 65 still attend. The management committee has amongst its committee four members who have been helping the club since the 1960s. The club has been staffed purely by unpaid volunteers since the early 1990s.

The 59 Club has become recognised worldwide as a genuine motorcycle club with a rich history and members all over the globe. Unique to the 59 Club, and other clubs like it, is that members do not consider themselves One Percenters, it is merely a club for motorcycle enthusiasts. The main patrons of this organization are enthusiasts of classic or vintage British and Italian motorcycles such as: Norton, Triumph, Ariel, Matchless, AJS, BSA, Royal Enfield, Moto Guzzi and Ducati.

The 59 Club currently maintains links with both the Ace Cafe and the Rockers Reunion. As of 2009, the club had over 30,000 members, of which around 800 renew their subscription each year.

Also, the club is not a 'Christian motorcycle club' and has no church agenda, it merely started out as a church-sponsored youth group but recently (September 2009) celebrated a very successful and well attended 50th anniversary service at St Martin-in-the-Fields church, Trafalgar Square, London.

The Fifty Nine Club currently has officially recognized chapters in Australia, Belgium, France, Germany, Italy, Spain, Switzerland, and Texas (USA).