These Bowling shoes have been developed to get as close as possible to the ones we used to have back in the day. Notice they are a lot slimmer than other bowling shoes that have previously been available.
The main reason that we had these made is that we were asked for them loads, in fact it was one of the 1st requests we had ! We like to listen to our customers and bring back the styles they would like to see again.
The leather used on these is proper soft leather and requires little wearing in. On the sole we have added a black grip to the front, so you shouldn’t be slipping either.
In terms of outfits, casual with jeans. We are thinking they look smarter than a trainer, but less formal than conventional shoes, so great on the scooter or just out for a pint.
We think the Shelby boots are great, and can be both Smart & Casual. In the video you can see we have teamed with our Peaky Blinders Suit and also a classic Ben Sherman & Jeans combo. Myself I worn them with trousers and shirt for an evening event, and also jeans on a sunday to go to the pub.
By anyone’s yardstick Going Underground is a stunning single. Pre-sales alone ensured it debuted at number one (a trick The Jam pulled off twice more before taking their bow). It is probably the most overt political record EVER to top the charts. It’s a measure of its quality (and a general failure of society) that it still stands up today as a chilling warning of Kidney machines being replaced by Rockets and Guns; nearly 40 years after its initial release we’re still greeting the new boss… same as the old boss.
It is also the very moment that is maybe the beginning of the end of The Jam. Going Underground was the pinnacle of the Jam sound. That taut slashing art-guitar pop over a driving drum heart-beat and nimble bass, runs from Tubestation some 18 months earlier, through a brace of non-album tunes Strange Town and When You’re Young and the biting Eton Rifles before culminating in the stabbing guitar intro to Going Underground.
It’s catchy, key-climbing chorus and its rumble of boots hooks of ‘Ho! La La La La! and an air-punching ‘Pound! Pound! Pound!’ made it a ready fan favourite in its live setting and its transition to vinyl (again single-only) lost none of its power. It was however, pencilled as a double A side until a French pressing plant error made it the A-side with the slightly-delic and heavily paranoid Dreams of Children on the flip. Sadly, Dreams’ live intensity (check out the blistering version on Dig the New Breed) failed to translate to the vinyl press and so to the radio pluggers it was no contest and Going Underground was championed and heralded as the group’s first Number One.
Interestingly enough the B-side is a huge indication of where an uncomfortable Weller was at and taking the band next. Lyrically it is more poetically oblique than anything penned before and sets the tone for much of Sound Affects. At a gig in Newcastle earlier is the year, a clearly edgy Weller is already bemoaning his gold-fish bowl existence. The slightly unhinged lyrics ‘waking up sweating’, choking and cracking on his dreams draw a direct line into Dream Time where he was so ‘scared dear that my love comes in frozen packs bought in a supermarket’. The bells are beginning to toll.
Having strived so hard to get to number one though, Weller wasn’t prepared to give up on The Jam without a fight. All those early gigs to half empty rooms, the transit van tour years, the occasional critical mauling, the lost period between Modern World and subsequent triumphant return of All Mod Cons before honing their sound and image until its peak with Going Underground in both sound and vision.
Watching the video again now you are struck by just how sharp the band looks. A besuited Rick sporting the famous black and white Gibsons that flash up as part of the pop-art intro. Bruce as ever looking sharp in his tight fitted suit adorned by the monochrome skinny tie that so defines the era and his Jam/Badger shoes that made many a young Mod (myself included) hot foot it to Shelleys. Sharpest of all is Weller with his pop-art sheriffs badge and gold and burgundy Tootal scarf – its been a staple of the Modernist wardrobe ever since.
The rush to embrace the band and the image though added weight to already young shoulders. Realising its self-fulfilling prophecy, it’s no wonder Weller preferred the B-side, taking the Revolver era Beatle template into a modern post-punk angular guitar spark onwards to (second number one) Start and the astonishing Tales from The Riverbank.
Whatever way he turned he was feeling hemmed in, unable to move without his every word being picked over as ‘spokesman for a generation’. The NME polls from 80 and 81 are wall-to-wall Number Ones for The Group in every category. Fearing that the youth were no longer listening he even looked to some Soul salvation over their final year before calling it a day on October 30th 1982. It was only later in The Style Council he rediscovered his joie de vivre, but that’s another story.
It is something that many Jam fans never forgave Weller for, but he had warned everybody if you were listening ‘I don’t get what this society wants…’
Here we have our new ladies collection for this season. 3 New styles called
The Marianne – The Faye – The Raquel
All 3 have been based on vintage shoes we have in our library.
The shoes are made for us by the same people that make our Lolas, and are of a high quality. These shoes have been developed to suit a normal to wide fitting. They have plenty of “Toe Wiggle Space”. The leathers are super soft and require very little wearing in. The gel cushion in sole adds extra comfort without compromising on style.
Being a teenager in the late 70’s presented Britain’s disaffected youth with an embarrassment of riches to which tribe to pin your colours to the mast. In 1979 those colours were definitely black and white.
The Specials looked like a gang. A gang you wanted to be in. They looked hard, sharp and they had your back. That was also a necessity on the streets of late 70’s Britain. The style template was on the record label. Walt Jabsco the creation of band-leader Jerry Dammers, Horace Panter and designers ‘Teflon’ Sims and David Storey was taken from an early shot of Peter Tosh in full on rude-boy mode as part of the cover of the LP Wailin’ Wailers. The wrap around shades, the blue-beat stingy brim hat, slim-jim tie (although on original abum he sported a bow-tie) and tight-fitting black suit; the trousers of which looked like they’d had an argument with the wearers ankles and the shoes. Thick soled or leather soled beef-roll loafers with fringe, tassel or ‘penny’ vamp. Suddenly the high street was full of rude-boys walking the walk and talking the talk.
The Specials were so much more than just an image. They were politically conscious on a local level, reflecting the social-divide that their working-class audience were at the sharp end of. A witty re-write of Lloydie and the Lowbites ‘Birth Control’ became ‘Too Much Too Young’; ‘Concrete Jungle’, its title cribbed from an early 70’s Bob Marley tune turned into an all too real urban nightmare in the hands of Jerry Dammers and the effortlessly enigmatic Terry Hall, the bouncing Lynval Golding and Rude boy in chief Neville Staple.
Larger topics were handled with similar aplomb. Touring with The Clash (and a brief share of management) lead to the creation of Rock Against Racism. Their traditional skinhead image heavily at odds with bone-head National Front and British Movement fascism. Later still they’d champion the release of former ANC leader Nelson Mandela. From the litter-strewn streets of a still bomb-site Coventry to the dusty roads of Soweto their heady-mix of Ska and Punk struck a chord with those who demanded both justice and change.
All this was driven from the creation of their record company 2-Tone. Funded by Chrysalis records who were sold on the power of the bands image, musicality and Dammers’ intense belief. Altruistic (a shared B-side on debut single with The Selector) and Artistic its output was eclectic, politically challenging and just oh so danceable in your choice of loafers.
2-Tone launched the careers of The Selector, The Bodysnatchers and music-hall popsters Madness all of which used both arch humour and social commentary to great affect and all of which conquered the charts on a regular basis. Other bands took their lead from their ideals too; Bad Manners whose slapstick vaudeville approach belied great musicianship and The Beat who also had their own record label Go-Feet and stylish logo based on one-time Prince Buster paramour Bridgette Bond, released a slew of stunningly good singles. Young Soul Rebels Dexys Midnight Runners were also given a leg-up supporting The Specials on Tour.
In 1981 The Specials released possibly their greatest single; Ghost Town. It is by any measure a stunning song that is as (sadly) reflective of today’s society as it ever was then. Released in the week of the Toxteth Riots and with a punch in the guts despondency that reflected the fears of their audience (and also the band – it was to be their last single in this line-up) it stormed to number one. It’s rejection of social cleansing via faceless town centres, mind-numbing boredom and being set adrift in a sea of jobless statistics and scapegoat politics is incredibly powerful. The haunting trombone (played by original Alpha Boys School alumni) Rico Rodriguez adds to its paranoid air. The streets were set ablaze to its soundtrack that summer. The mixed race (more so than reported… naturally) working class rejection made real.
Music so rarely achieves the change it promises, but rarely has a band been so instrumental in fighting the injustices it sees. The Specials stood for something and continue to do so, such is their legacy. Ask most teenagers in the late 70’s who their favourite band was The Specials would have been a long way up the list… to many they still are.
40 years ago, this week, The Sex Pistols played the last date of their one and only American tour at the Winterland Gardens in the Hippie haven of San Francisco. Paul Cook and Steve Jones plug away gamely to an audience of the curious and the haters; the doomed Sid Vicious struggles on bass, not least as it’s not his first-choice instrument, which currently is the syringe.
A normally sprite-humoured Johnny Rotten is tired and in his mind already made up in leaving the cartoon edifice the band has become is singing The Stooges No Fun and meaning every ad-libbed word. The shambolic ending perhaps most eloquently summed up by his sardonic sign off ‘Ha Ha ever get the feeling you’ve been cheated?’ He could easily have been referring to himself.
Punk is now officially dead. Sid literally so not long after.
In truth however, Punk was an alchemist for so much great music of the late 70’s and early 80’s. Its effect on music far outlasted the flash-bang of the ‘76/’77 period which is widely acknowledged as its peak. Its greatest legacy has been as a catalyst for people to ‘have a go’ – it’s been an inspiration for a lot of creative people; not just musicians but artists, poets, writers, comedians and designers, its still going strong today and Punk could well be attributed to as its ground zero.
As the initial punk bands musicality improved it had an easy metamorphosis into Power-Pop and the charts were awash with three-minute pop gems with attitude. More interesting still is its amalgamation with other musical genres.
The Mod Revival took the template of the hedonistic attitude of The Who, The Kinks and Small Faces and mixed in a liberal dose of Punk snotty demeanour. Bands like the Chords very much typified that Punks in Parkas sobriquet. One-time Punk bands like The New Hearts became Secret Affair and added in a chunk of soul music to their Punk/Mod hybrid and with it garnered perhaps the most original sound from the Revival Period culminating in the classic Time For Action.
Punks affinity with that other most rebel of music Reggae is well known. The Clash made a series of scorching Reggae Cuts from covers such as Junior Murvin’s Police & Thieves and Willie Williams’ Armagiddeon Time to their own originals like Bankrobber. The Ruts and The Slits also made great slices of Reggae. Reggae legend Bob Marley returned the favour on Punky Reggae Party namechecking The Jam, The Damned and The Clash. Its therefore no great leap to see how 2-Tone came into being.
2-Tone was perhaps Punks greatest musically influenced legacy. The Rude-boy bounce of Ska and Rock Steady appealed more to the predominately white working-class incumbents of Punk. The Roots Radical vibe a more middle-class affinity. From the ashes of Punk band The Coventry Automatics came The Specials. Their eponymous album is the perfect mix of Punk and Ska. It’s striking black and white imagery and Walt Jabsco logo (based on an image of rude-boy era Wailer Peter Tosh) was an immediate hit. Hot in their wake came Midlands band The Selector who took The B-side of The Specials first single; the Prince Buster influenced Gangsters. The Beat, Madness and the all-girl Bodysnatchers took the Punk/Ska template and each added their own spin on it. Its sound, attitude and most of all, its style inflamed a generation.
Punk was a flame that burned bright and extinguished too early but its greatest achievement was that it lit the touch-paper to so much more. Johnny Rotten may have felt cheated, trapped in a cartoon punk circus he was no longer ringmaster of, but the legacy of his charge spread far and wide and away from the machinations of Machiavellian Svengali’s and I think above all he loved that most of all.
The death of the youth cult has been a preoccupation of many a writer in the last 20 years and probably rightly so; post Raver and Baggy there is probably no street-driven youth cult since. Yes, there have been musical genres from Grunge to Grime and any number of ‘fashionable’ looks that defined a time… anyone else remember the Hoxton Fin?
But none of these were street honed codes that defined you as part of a tribe that once ensnared meant that your every nuance from your choice of clobber to your obsession over ‘that’ B-side you felt was yours alone. A first-love that you would never forget and something that would define your ethics from that day forth.
The explosion of social media, with bite-size try before you buy tasters that now mean that you don’t have to commit to that band, that book or film are probably one of the four-horsemen of the youth-cult apocalypse. Youth cults demand commitment if nothing else – no half measures here!
The golden era of youth cult; the sons and daughters of the post-war parents had a very clear boundary between youth and age. Those golden faces really were under twenty-five. These days age is just a number and any youth-cult is probably better defined as a lifestyle choice. This of course is not without its draw backs – the looks are now more defined by iconography and can suffer by being youth-cult by numbers. Grown men and women refusing to let go of the shackles of their golden years.
Is it any wonder then that perhaps the result of this refusal to age has lead to stylistic cults that are no longer the preserve of youth?
Steam Punk. A velveteen Victorian homage embellished with clockwork and a retro futuristic mish-mash half way between Jules Verne and Georges Pompidou but perhaps this can be discounted as its generally the preserve of weekenders and as we’ve already established any lifestyle that illicit such an all-encompassing passion cannot be a part-time occupation.
This leaves us with perhaps just one cult/lifestyle choice (take your pick) that has a self-created look and a set of ethics that define its existence. The ‘Hipster’ is much derided and to my mind unfairly so. It’s initial foray into style was an unashamedly retro look pitched somewhere between the wars – think Chas and Dave but with more ornate facial topiary and you’re halfway there. Pendleton check woollen shirts and a hint of 50’s bowling alley flair and it’s a style borne out of charity shops but, and here is the rub, items with innate detail and a look that says ‘yes I am a hipster’. The (now somewhat) ubiquitous beard with Edwardian styling and Victorian strongman moustaches say it loud and proud bearing a similar challenge as the cold-staring ultra-smart Modernist sons and daughters of post war parents and immigrants and the ‘what you gonna do about it’ eyeball of the skinheads and punks.
Hipsters also have a DIY ethic that would make a Punk proud – micro-businesses selling self-created items and with it a desire for self-betterment that would be very Mod in its outlook. And like the skinhead as it effortlessly morphed into the suede and smoothie the Hipster look is changing; still rooted between the wars stylistically it has got smarter, vintage tweed, heavyweight herringbone three-pieces augmented with vintage timepieces and classic British footwear Such as Brogue boots.
Its look no doubt influenced by one of the finest programmes on t.v. currently; The Peaky Blinders. Highly stylish and set in that moody no-mans land in Working class Industrial Birmingham between the wars. The look is spreading to the high-street but for my money anything that brings back that very British look is ok with me – Perhaps we should be more grateful for the Hipster, style is never a bad thing!