1967

(c’86 -’94) Toby Burton (vocals / guitar), Michael Wilson (bass), and Gavin Richards (drums)

After Stuart Clapp (drums) departed Siere Novar, and auditions failed to surface a suitable replacement, Richards stepped across from keyboards to drums. It resulted in a significant change in sound and feel – Richards’ straighter rock style a considerable distance from the Steve Jansen-influenced rhythmic complexity that had characterized the Siere Novar sound.

On 17 August ’86 the band travelled to London for their first and last gig in the big smoke at Dingwalls, Camden. This was followed by the multi-band event – that included S’Tori, Burning Ambition, Captain Pike and the Crucials, Longpig, Screaming Hearts, and Pulling the Worm – held to mark the closing night of the Rex Cinema, Haselmere on 29 November ’86. Both shows earning them coverage in the Surrey Advertiser.

But the lineup and sonic shifts prompted a new identity for the now trio, with Siere Novar becoming 1967, a nod to the year all the members were born. By ’87 the band had relocated to London, moving in together and playing their first show under the new name at the King’s Head, Fulham on 3 August ’87. They quickly immersed themselves in the capital’s so-called toilet circuit, building a reputation through relentless live work. Early shows included the Cricketers, Kennington and the Bull & Gate, Kentish Town – then run by legendary promoter Jon “Fat Beast” – where they joined the vital grassroots scene that helped shape a generation of independent music.

Through ’88 and ’89 the band were playing frequently across London, with multiple shows at Merlin’s Cave and appearances at the King’s Head; The George Robey, Finsbury Park; and a return to the Cricketers. By ’90 they had shortened their name to 67 and expanded their reach further, performing at The Falcon, Camden; Opera on the Green, Shepherd’s Bush; and The Rock Garden, Covent Garden. Their Rock Garden appearances included a notable showcase alongside an early lineup of Suede. The band supported Wishplants at The Bull & Gate on 10 September ’90 and continued to build momentum through ’91, returning to the Rock Garden and The Falcon, as well as appearing at the Powerhaus, Islington.

By ’92, The Vertigo Club at the Falcon had become something of a home base, hosting several performances that year, with support slots with Huge Big Massive on 2 April, Suck Henry on 8 May, Gretschen Hofner on 11 June, and The Airedales on 25 November ’92. They also supported Rollerskate Skinny, along with Scarlet in Heaven at the Butterfly Evolution Club at The Bull & Gate on 2 September ’92, appearing at the venue again on 8 December ’92.

They rolled through a strong run of shows in early ’93, including the University of Westminster Student Union. The 4 March ’93 saw the band back at their ‘home’, The Falcon, Camden. 20 days later they were at the Dome, Tufnell Park with Gorgeous Space Virus, on 24 March ’93. Alongside their live work, 67 recorded their first demo under that name at Sunday School Studios, featuring the tracks Gadget and K2000. The recording caught the ear of independent label Southern Records, with connections to Fugazi, Minor Threat, and Jesus Lizard. The next month the trio played Amersham Arms, New Cross on 7 April, then the Bull & Gate on 13 April, followed by The Borderline with Swineherd and The Scum Pups on 26 April ’93. The band’s growing reputation began to attract serious attention, and after attending several of the band’s live performances, Southern Records signed 67 on 13 May ’93. An NME review of their Powerhaus show in May ’93 noted that the band leaned heavily into American grunge influences but showed flashes of originality – particularly when they ventured beyond that style – and singled out Bright Black as evidence of real potential.

Their debut single, Bright Black was released on 28 June ’93 to considerable critical attention, including one-line reviews from members of Biohazard and Cathedral for Raw Magazine’s 21 July ’93 issue, and radio play across Europe. Recorded at Southern Studios by Richard Liggins and pressed in France, on orange vinyl, the sides are labelled ‘6’ and ‘7’, with Bright Black on ‘6’ and Iron on ‘7’. It was reviewed by Everett True, the journalist who famously wheeled Kurt Cobain onto the stage for Nirvana’s final UK appearance at Reading Festival in ’92, in both NME and Kerrang, as well as a host of fanzines. The press noticed: A feature and interview followed in Metal Hammer, the writer of which had seen them supporting Polvo; Angela Lewis reviewed the bands gig at the Bull & Gate on 10 August ’93 for NME, describing the band as likeable, with catchy pop-influenced melodies, though cautioned that their staying power would depend on developing a sound more distinctly their own. Their label had them supporting Jesus Lizard at The Garage, London on 11 September ’93, followed later in the month by a gig at Splash Club, The Water Rats, King’s Cross on 24 September, supporting Crazy Gods of Endless Noise. They were back at The Falcon on 1 October ’93 supporting Zu.

Their second single, Gadget, was released on 7 October ’93 and reviewed widely in both the mainstream music press and underground fanzines. The band recorded a paid session at Maida Vale Studios on 28 August ’93, which aired twice on Steve Lamacq and Jo Whiley’s BBC Radio 1 Evening Session, as well as recording a live session for another London radio broadcast. Regional BBC radio interviews followed, including one with Alli Grant for BBC Radio Bristol’s Loaded. Then a mini-UK tour took the band to Southampton, Lincoln, Edinburgh, Sunderland, Barrow-in-Furness, Cardiff, Derby, Leicester and Hull, as well as support slots for Morphine at the Powerhaus on 16 December ’93, Shellac at TJ’s, Newport and the Duchess of York, Leeds on 24 and 25 March ’94 respectively,

67 played the Powerhaus again on 31 May ’94 and supported Girls Against Boys at The Venue, New Cross on 15 July ’94. Their third single, Better and Worse / The Jeep with a Beat, was released on 19 October ’94. By this point the A&R contact who had championed the band at Southern had moved on, and the release received significantly less promotional support than the band had hoped for. Disillusioned, and having signed to Southern with the expectation of releasing an LP, 67 parted ways with the label – retaining the masters of the 16 songs they had recorded at Southern Studios. Those recordings can now be heard on all major streaming services.

On 3 December ’94, Everett True reviewed the band’s gig at the Beachcomber Bar, Brighton for Melody Maker and in doing so wrote something close to their epitaph: “…eternally doomed to be overlooked… I think of 67 and I think countless local bands destined to remain only championed by close friends, but all special in their own ways, anyhow. Bands whose only pretension is to create music they enjoy, music that tingles somewhere inside. Bands who all have at least a few moments of magic, echoing eerily round the empty clubs, and half-filled pubs… When I think of 67, I think of reasons to believe, reasons to exist.”

After 67 parted ways with Southern in late ’94, Burton, Wilson, and Richards briefly regrouped under the name Tea, adding saxophonist Stewart George, before a falling-out on stage at the Laurel Tree, Camden brought that chapter to a close. Burton subsequently formed Pocket Rocket (UK) – named after the drum machine he used to arrange his songs – which evolved from an acoustic act into a full electric band, also featuring Wilson and George, and played the London pub circuit until disbanding in ’99.

Since 2017, Burton has been recording as RockCounsellor, collaborating with multi-instrumentalist and producer Richard Campbell at Orpheus Studio, East London; his catalogue, including the album Music Therapy, is available on all major streaming services.

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