Desperate for entertainment
So I turn the TV on
There's people jumping up and down 
Then they have the panel on 
And they talk a lot of wind

They talk a lot of wind
And they talk a lot of wind
And they talk a lot of wind
And they talk a lot of wind
They talk a lot of wind

And then they have the weatherman on
He used to teach all our friends 
He talks a lot of wind
He talks a lot about the wind

Then they have Carl Lewis on 
He's got a ponytail and he's a vegan 
He talks a lot of wind
He talks a lot of wind

And he talks a lot of wind
And he talks a lot of wind
And he talks a lot of wind
He talks a lot about the wind
He talks a lot about the wind

I turn the tragic lantern on 
It's a programme, "Good Morning!" 
It's a lot of wind

They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind
And they talk a lot of wind
Talk a lot about the wind

I'm real sick and in distress
I got octagonals in my eyelids 
From watching all that wind
I get horrible horrible horrible dreams
So I ring the TV line and get a lot of wind

They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind

You see them selling carpets
You see them in the shops
You see them on the kids' programmes
And they talk a lot of wind
Oh the boredom in my bones
From belching a lot of wind

They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind
And they talk a lot of wind
They talk a lot about the wind
They talk a lot about the wind
I gotta forget about the wind

Has a lot of nerve
They talk a lot of wind
They talk a lot about the wind
There's a roly-poly, roly-poly man 
He's got a yak haircut - dick, dick, dick 
They talk a lot about the wind

Commentary

As it happens, there are several eminently giggleworthy moments on the new album. Notable among these is “A Lot of Wind”, Mark’s critique of television, the “tragic lantern”, the relentless inanity of which drives him to hugely entertaining heights of monotonic distraction.

“Yeah, I like ‘A Lot Of Wind’,” he beams, eventually, “that’s good, that you like that. It wouldn’t be any good, see, if it wasn’t delivered right. It’s got to be done like that.”

Which programmes in particular inspired it?

“There’s one or two that I switch off automatically. That one that’s really offensive… ‘Kilroy’, that’s it. Really offensive. Have you seen that? ‘If you’ve ever been a child molester, ring “Kilroy”‘… Bloody hell.”

There should be laws, don’t you think, against the general public from appearing on TV.

“No, the general public are all right. It’s the people behind it, they’re the worry…”

Mark E. Smith, interviewed by Andrew Mueller, Melody Maker, 20 April 1991. p.45

A rant about the banality of daytime television, or specifically daytime television presenters and guests, credited to Mark E. Smith (just him). It was first released on the album Shift-Work (1991), but first heard as part of a Peel Session broadcast the month prior to the album’s release (see below). It features Kenny Brady on violin.

The lyrics plays with a pun on the word “wind”. Talking a lot of wind means spouting empty platitudes, which is apparently straightforward, but the song sometimes switches to talking about the wind – for example the weatherman both talks about the wind and talks a lot of wind. Arguably the lyric also suggests wind as in flatulence – belching is explicitly mentioned at one point.

Lyrics for this song appear in the “Blue Book” (officially titled vII, the second volume of lyrics), p.139. For some reason it is subtitled, “(Skegness version)”. Maybe MES visited a particularly windy Skegness at the time. The printed lyrics are more or less as they are on the album version, but the verses are in a different order.

“A Lot of Wind” seems to be reasonably well regarded by fans, and was voted into ninth place in John Peel’s “Festive Fifty”, broadcast at the end of 1991.

In the music press, Roger Morton of the NME described the track as “a funny, caustic attack on trash television posing as serious debate” (Morton, 1991, p.18), while Jon Wilde’s review in Melody Maker mentions its “addictive mutant rockabilly.” (Wilde, 1991) and Stephen Dalton’s NME review thought that its “niggling hacksaw rant straight from Smith’s speed-freak scrapbook” looked back to “classic Fall formulas” (Dalton, 1991).

“He’s the King of Granadaland“

Some versions of the song include the line, “He’s the King of Granadaland”.

This line may have been dropped from the album and Peel Session versions due to the apparently specificity of the description; I say “apparent”, however, because while a number of candidates have been suggested, plausibly or otherwise (Fred Talbot, TV astrologer Russell Grant – who was “roly-poly”, Tony Wilson, Richard Madeley…), it’s not actually certain who it is. It may be a presenter, or a guest.

“Granadaland” refers to the region covered by Granada Television, who had (broadly speaking) the north-west ITV (Independent Television, the commercial competitor of the BBC) broadcasting franchise. The founding chair of Granada Television, Sidney Bernstein (who named the company after his favourite place in Spain), is sometimes referred to as “The King of Granadaland” (but he is unlikely to be who MES had in mind, given that he died aged 94 in February 1993 – on the other hand December 1990 marked the 30th anniversary of long-running Granada TV soap opera Coronation Street, and he may have been mentioned in that context).

According to Lez Cooke in A Sense of Place, his history of regional TV drama:

“The Granada Group was based in London, with offices in Golden Square, but when the company was awarded a Northern television licence the Bernsteins committed themselves to establishing a new television company in the North by building new studios in Manchester – the first purpose built television centre in Britain.

The region allocated to Granada was based on Lancashire and Yorkshire but also included North Wales and most of Cumbria, while in the south the region embraced Cheshire, the northern parts of Shropshire, Staffordshire, Derbyshire and Nottinghamshire, and most of Lincolnshire. Lancashire and and the western part of the region was to be served by a transmitter on Winter Hill in Lancashire, while Yorkshire and the eastern part of the region was to be covered by a transmitter on Emley Moor in the West Riding of Yorkshire. When Granada TV launched on 3 May 1956, however, only the Winter Hill transmitter was operational. It was not until 3 November 1956 that the Emley Moor transmitter came into operation, which meant that for six months nearly five million people in the east of the region could not receive Granada’s programmes. When fully operational the region which Sidney Bernstein dubbed ‘Granadaland’ embraced a potential audience of over twelve million people, equivalent in size to that of London and the South and considerably larger than the Midland region.”

Cooke, Lez, 2012, pp.48-49.

Bernstein, according to Cooke, regarded “Granadaland” as homogenous, but Cooke rightly observes that there were cultural differences across the region, and that even when Yorkshire TV took over the eastern part of the region from 1968, “Granadaland still embraced two large urban populations, in Manchester and Liverpool, with distinct cultural identities and strong local rivalries.” (p.49).

Cooke continues: 

Contrary to Sidney Bernstein’s original equation of Granadaland with “the North”, after the loss of Yorkshire and the eastern part of Granada’s region in 1968 ‘Granadaland’ was quickly redefined as the North West, with Lancashire at its heart, in a sleight of hand which acknowledged the distinct regional and cultural differences east and west of the Pennines but which also handily described the region embraced by the signal from the Winter Hill transmitter.

Cooke, Lez, 2012, p.50

Cooke then goes on to quote and discuss Tony Wilson defining the boundaries of the region in 2002. Someone wanting to understand the meaning of “Granadaland” could do worse than read Cooke’s book from p.48.

Kevin Coyne

Extracts from an interview I found on the Kevin Coyne website. It first appeared in Classic Rock magazine:

I actually reviewed the album a couple of days ago, before I got the call from Sue. There’s a very contemporary feel to it.

Well I think the Fall has certainly listened to my records at some point, at least that’s what I felt. I mean I don’t mind that I like the Fall very much.

<<<< >>>>

If you were castaway on a desert Island which five albums would leap into your hands?

Five albums, oh my goodness, very difficult, one would be Bill Black’s Combo ‘Don’t Be Cruel’, a single by them, the other would be ‘Parker’s Mood’ by Charlie Parker which is one of the millions of tracks he did, and something by Captain Beefheart I think, ‘Ode To Alex’ off ‘Bat Chain Puller’. There’s a thing about wind by the Fall, ‘a lot or wind’ or ‘such a lot of wind’, I can’t remember the title of it now, off the top of my head certainly something by the Fall anyway – and the fifth one, I think Foxy Brown actually, the Rap singer, anything by her, ‘Hot Spot’ I think is the one I like, I hope it doesn’t sound too pretentious to mention all this, I just like all types of stuff really.

Source: http://kevincoynepage.free.fr/Press_MHeatley.html [Archive]. Interview by Michael Heatley, first published in Classic Rock magazine, #29, July 2001.

Live history

Live, the song was only in The Fall’s set for a short period of time.

The total number of documented performances (seven, according to The Track Record) is misleading, because there were 27 gigs in 1991, and we only have recordings or setlists for six of them. The earliest documented performance is at Frankfurt on 23 May 1991, but it seems likely that it was played from the start of the European tour in Hamburg on 14 May.

The final six gigs of the year during December 1991 are better documented (information is only missing for one of them), and it appears that the song wasn’t played at any them. We don’t know whether it was played in Sunderland on 14 November; if it wasn’t then the last performance of the song that year was at the Reading Festival on 24 August.

The song remained unplayed for most of 1992, which is reasonably well documented, and the evidence suggests that it reappeared for just two gigs: at the Town and Country, London, on 19 May 1992, and for its swan-song at The Event, Brighton, on 20 May.

The reason for this is probably that the song really needs Brady’s violin, and he left the group in the summer of 1991. Footage exists of the song’s performance at the Reading Festival, and you can hear how much Brady is missed.

MES begins by saying, “… because there is no dignified position.” I don’t know why.

Notable Versions

John Peel Session

“A Lot of Wind” was recorded for The Fall’s fourteenth Peel Session on 5 March 1991, and broadcast on 23 March. This would have been most fans’ introduction to the song. Shift-Work would be released the following month, on 15 April, and “A Lot Wind” was not performed live until the May tour.

There are some lyrical differences to the album version. The verses are in a different order, and MES seems to screw up his lines from time to time. At one point he sings “I’m distressed and in distress” and he repeats the line about his eyelids; once with what sounds like “astericks” (“asterisks”, should that be?) and once with “octagonals”. There is the alternate line, “I turn the tragic lantern on / It’s Dave and June again”. The programme is identified as This Morning rather than Good Morning. There’s no “King of Granadaland” line, however.

120 Minutes – MTV

Also broadcast prior to the release of Shift-Work, MTV’s 120 Minutes broadcast The Fall performing a number of songs live in the studio, introduced by Paul King: “High Tension Line” (captioned “Hi Tension” on screen), “Edinburgh Man”, “A Lot of Wind”, and “Shift-Work”. It’s a good version. It includes the “He’s the King of Granadaland” lyrical variation.

Sinister Waltz

The 1996 Receiver Records compilation Sinister Waltz includes a version of “A Lot of Wind”. There is no information about any of the tracks on the Receiver compilations, but presumably it’s an alternate edit.

This version includes the lines “There’s a roly, roly, roly-poly man / He’s the King of Granadaland / He’s got a yak haircut, dick, dick, dick”.

The same version was included on the 1997 2 x CD compilation, The Less You Look The More You Find, also from Receiver Records.

Flabby Wings Demo

The Flabby Wings bootleg (2004) includes a version of “A Lot of Wind” labelled as a demo. There’s no other information about the provenance of this track. There are some slight lyrical differences, but they don’t include the “King of Granadaland” line:

When I want some entertainment
And I turn the TV on
People jumping up and down
Then they have the panel on
And they talk a lot of wind

They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind

Talk a lot about wind

They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind

Put on the programme
He has been born again
Along with his [ ]
And they talk a lot of wind

They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind

Then they have the weatherman on 
He used to teach all our friends
And he talks a lot about wind
He talks a lot about wind

Then they have Carl Lewis on
He's got a ponytail
And he's a vegan
He talks a lot of wind

They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind

They talk a lot about wind

The jumping up and down
And people standing around
Panel talks

See 'em on the carpets [?]
See 'em on the shops [?]
See 'em [??] living on the boat

They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind
And they talk a lot of wind
They talk a lot about wind

I turn to TV-am
It's a programme "Good Morning!"
Talks a lot of wind
Talks a lot of wind

See 'em on the carpets
See 'em on the shops
See 'em on the kids' programmes
Talking a lot about the wind

They talk a lot of wind
And they talk a lot of wind
They talk a lot of wind
And they talk a lot of wind
They talk a lot about the wind
Talk a lot about the wind

Footnotes

1. When invited to name particular programmes by Andrew Mueller, MES sidestepped the question. But the morning TV shows he seems to be talking about generically had popular exercise routine segments. The BBC’s Breakfast Time show had the “Green Goddess” (Diana Moran), and Good Morning Britain had Michael Van Straten, Jackie Genova, and then “Mad Lizzie” Webb (Wikipedia’s page on Good Morning Britain says Webb was the most famous of the three). ↩︎
2. Sometimes in live versions “panel” becomes “channel”. ↩︎
3. This is Fred Talbot (born 1949). Talbot was the weatherman for This Morning (rather than Good Morning Britain – but note that MES is probably drawing from more than one programme or deliberately being ambiguous) from 1988 to 2012, presenting from a floating map of the British Isles at Liverpool’s Albert Dock. Born in Edinburgh, he grew up in north-west England, and went to school in Altrincham. He became a teacher in the late 1960s and from 1974 taught biology and astronomy at Altrincham Grammar School (picking up broadcasting work on the side) until leaving suddenly in May 1984. In 1985 he joined Granada TV as their first weatherman, providing forecasts for Granada Reports every day.
   
   It would have been assumed at the time that Talbot had resigned to pursue his television career.
   
   In December 2012, while Talbot was apparently on a cruise holiday, police raided his house. BBC News reported that they were acting on complaints about historical sexual abuse. Talbot was arrested in April 2013.
   
   In 2015, Talbot was convicted of the indecent assault of two schoolboys and sentenced to five years imprisonment.
   
   In May 2017 Talbot was put on trial for a second time, on historical abuse charges relating to school trips to Scotland. Talbot was convicted of seven of the nine charges and sentenced to a further four years imprisonment. He was released from prison (this would have been on license) at the end of 2019.
   
   The real reason for his sudden resignation from teaching turned out to have been complaints to the school from the parents of two boys who Talbot “propositioned” after inviting them to his home to use his telescope.
   
   Stone Roses singer Ian Brown was a pupil at Altrincham Grammar School in the late 1970s. He gave evidence at both of Talbot’s trials (as a witness rather than a victim).
   
   When “A Lot of Wind” was written, clearly Talbot’s crimes were obviously known to his victims and those they had told, including his former school, but they were not public knowledge. Talbot’s arrest was two decades away. We don’t know if MES knew anything about the case; there’s no hint of the later revelations in the innocuous line about Talbot having taught “all our friends”.
   
   Simon Wolstencroft attended Altrincham Grammar School and was friends with Ian Brown. Wolstencroft’s autobiography, You Can Drum But You Can’t Hide (2014), was first published after Talbot’s arrest (but before his conviction) and the allegations against him go unmentioned. The second edition doesn’t add anything new. This is the extent of what Wolstencroft has to say (pp.7-8):
   
   “Ian’s mimicking continued, more and more confident, marching into the classroom pretending to be the teacher, writing on the board saying, right, homework assignment, make sure you watch the Pistols on Top of the Pops tonight seven thirty or some such. He could send up all the staff, including Fred Talbot (later a TV weatherman) who taught us biology and Mr Black our English teacher. Me and Ian went on a camping trip in Scotland with Fred one year, with about 10 other lads. We walked for miles in the freezing cold, snow pelting down, and the main thing I remember was sitting by a roaring log fire in a remote pub and having the best burger and chips I ever tasted. Or the most gratefully received anyway.”
   
   It may be assumed that Wolstencroft would probably have been aware of Talbot’s behaviour; readers may be surprised, therefore, that he didn’t at least refer to Talbot’s arrest. But had he done so, pre-trial legal considerations would likely have prevented publication. On the other hand, it is worth emphasising that victims and witnesses of abuse do not necessarily broadcast the fact or even discuss it with their peers; perhaps only a small group were aware. It can be extremely difficult for a victim to speak of their experiences. As the Report of the Independent Inquiry Into Child Sexual Abuse (October 2022), produced by a UK statutory inquiry chaired by Professor Alexis Jay, says, “It can be extremely difficult for victims and survivors to speak about their experiences of child sexual abuse. Revisiting traumatic childhood experiences can cause significant distress. Prior experiences of being silenced, blamed or not taken seriously can discourage victims and survivors from disclosing child sexual abuse again.”
   
   Anyway, my point is that we shouldn’t presume that MES knew of the situation or had anything other than a comment on the emptiness of daytime TV in mind.
   
   For more about Talbot, pre- and post- conviction, see Middles (1992), BBC News (2012), Sweney (2013), ‘Court Reporter’ (2015a and 2015b), Quinn (2015), Cunningham (2017), Anon. (2017) and Wikipedia. ↩︎
4. This is Carl Lewis the sprinter. ↩︎
5. Carl Lewis, who adopted veganism in July 1990 (see Lewis, 2001, p.viii), was an evangelical Christian (see Lewis 1990), and was also reported to have grown a ponytail when he visited Britain to promote his book, Inside Track, which was published in the UK on 25 October (see Scott, 1990: “his now famous brick-top hairstyle was offset with a fancy black pig-tail…” and Wigmore, 1990, p.8: “A short pony-tail was tied with a black bow”. ). This likely dates MES’ songwriting inspiration to October 1990, when Lewis was touring radio and TV studios, holding press conferences and book signing events and being interviewed for the newspapers. ↩︎
6. “Tragic lantern” means a television set. A “magic lantern” was an early projector, but the phrase evolved to refer to television. “Tragic lantern” is therefore a disapproving pun on “magic lantern”. It is not original to Mark E. Smith:
   
   “Nowadays, so efficient are the media, one can participate daily and vicariously in the horrific misfortunes which befall others. As one sits comfortably sipping a drink, pictures of death, agony and catastrophe, bounced off satellites between commercials, are skillfully presented on the tragic lantern. The results of the latest famine, earthquake, war or bomb outrage blend into weather forecasts, football scores and advertisements for cat food and breakfast cereals. The newspapers flourish on the offal of other people’s disasters. It has become easy to satisfy a fundamental, human, ghoulish instinct and appetite.”
   
   [Source: Cuddon, J.A. (ed.) (1984). The Penguin Book of Horror Stories. London: Penguin. “Introduction”, p.13] ↩︎
7. From 1983 until 1992, when it ceased broadcasting, the ITV network’s morning TV franchise sat with a company called TV-am. Their flagship breakfast show was called Good Morning Britain. It was followed at 9 am by a magazine-format programme aimed at women called After Nine. The Peel Session version does name the programme This Morning. If the weatherman is Fred Talbot, see above, then the programme would indeed be This Morning, but MES is probably mixing things up as usual. ↩︎
8. An “octagonal” is an eight-sided shape. Having them in your eyelids sounds very uncomfortable, but my research suggests it’s not a common medical condition. By which I mean there’s no such thing. Maybe it’s intended figuratively. The Peel Session version has the line twice, but “octagonals” is replaced by “astericks” (should that be “asterisks”?) the first time it is sung. ↩︎
9. Possibly the astrologer Russell Grant. ↩︎
10. What does MES mean by “yak haircut”? The following is from a feature by Stuart Maconie in the New Musical Express, 22-29 December 1990, in which MES, Paul Heaton (Housemartins/Beautiful South) and Peter Hooton (The Farm) reviewed notable singles from the past year. Note this doesn’t mean that the song is referring to a member of The Soup Dragons (p.28):
    
    “THE SOUP DRAGONS: ‘I’m Free’
    
    Paul: Now here’s a case in point. They were fine as an indie guitar band and they’re fine now. Same with you (to Hooton). There’s no problem with that.
    
    MES: I just find it embarrassing. I can’t watch it. That geek with the yak haircut.
    
    Paul: Yeah, there is a problem with the way they’re presented.
    
    Peter: The problem is they were photographers in one of their many previous existences. If there’s pictures of you knocking around dressed like Victorian doctors in 1986, then it’s hard to take you seriously in your casuals on Top Of The Pops today.
    
    MES: Good luck to them for making a few bob. It’s just the way they look I find embarrassing. I’m a man of taste. It’s because of twats like this I can’t go to clubs any more without some f-er in flares pointing at me. I just don’t like uniforms.
    
    Paul: It makes me feel old. It makes me feel glad to be old.
    
    Peter: Who wears flares anyway? Students?
    
    MES: Anyway I hate it. It was a good old Stones number and they’ve thrashed it.” ↩︎

Sources / Links

• The Annotated Fall: “A Lot of Wind” [Archived]
• Anon. (2017). “Fred Talbot is Jailed Again for Sex Offences.” Sale and Altrincham Messenger, 22 June. pp.1-2 [Available online at newspapers.com. p.1, p.2]
• BBC News (2012). “TV Weatherman Fred Talbot’s Home Raised in Abuse Probe”. 21 December. [Online]
• Cooke, Lez (2012). A Sense of Place: regional British television drama, 1956-82. Manchester: Manchester University Press.
• Court Reporter (2015a). “Ex-weatherman on trial for sex assaults.” Sale and Altrincham Messenger, 22 January. p.5. [Available online at newspapers.com]
• Court Reporter (2015b). “Dark Past of Fred Talbot.” Sale and Altrincham Messenger, 19 February. pp.1-2. [Available online at newspapers.com. p.1, p.2]
• Cuddon, J.A. (ed.) (1984). The Penguin Book of Horror Stories. London: Penguin. [Google Books]
• Cunningham, Cara (2017). “Singer’s Evidence at Fred Talbot Trial.” Sale and Altrincham Messenger, 18 May. p.5. [Available online at newspapers.com]
• Dalton, Stephen (1991). “Quiet! Genius at Work…” New Musical Express, 20 April. p.33. [Available online via The Fall Online – Bibliography]
• Jay, Professor Alexis (2022). The Report of the Independent Inquiry into Child Sexual Abuse. Presented to Parliament pursuant to section 26 of the Inquiries Act 2005. (HC 720). Available online at: https://www.iicsa.org.uk/reports-recommendations/publications/inquiry/final-report.html.
• Lewis, Carl with Jeffrey Marx (1990). Inside Track: my professional life in amateur track and field. New York: Simon and Schuster. (Published in the UK by Pelham Books) [Available online at the Internet Archive]
• Lewis, Carl (2001). “Introduction”, in Bennett, Jannequin. Very Vegetarian. Nashville, Tenn.: Rutledge Hill Press. pp.vii-ix. [Available online at the Internet Archive]
• Mackay, Tommy (2018). 40 Odd Years of The Fall. Place of publication unknown: Greg Moodie.
• Maconie, Stuart (1990). “Juke Box Fury”. New Musical Express, 22-29 December. pp.26-29. [Text online at The Fall Online – Bibliography, but note the transcription mis-titles the article “Juke Box Jury”]
• Middles, Mick (1992). “I’d Love to be a Martian”. Manchester Evening News, 21 March. p.17. [Available online at newspapers.com]
• Morton, Roger (1991). “Time and a Half Gentlemen, Please.” New Musical Express, 20 April. pp.18-19.
• Mueller, Andrew (1991). “The Fall: Worker’s Playtime.” Melody Maker, 20 April. pp.44-45.
• Pringle, Steve (2022). You Must Get Them All: The Fall on Record. [paperback edition]. Pontefract: Route Publishing Ltd. [Online store]
• Quinn, Ben (2015). “Fred Talbot guilty of indecently assaulting two teenage boys”. The Guardian, 13 February. [Online]
• Scott, Brough (1990). “A Bird of Paradise Who Still Can’t be Caught.” Independent on Sunday, 28 October. p.24. [Available online at broughscott.com or newspapers.com]
• Smith, Mark E. (2008). vII. The Lough Press & AMarquisManipulationProductions. [AKA the Blue Lyrics Book]
• Sweney, Mark (2013). “TV weather presenter Fred Talbot arrested in sex abuse investigation”. The Guardian, 9 April. [Online]
• The Track Record: “A Lot of Wind”
• Wigmore, Barry (1990). “This Vicious Woman.” Sunday People, 28 October. pp.8-9. [Available online at newspapers.com, p.8, p.9)
• Wikipedia: 120 Minutes (MTV UK)
• Wikipedia: Carl Lewis
• Wikipedia: Fred Talbot
• Wikipedia: Good Morning Britain
• Wikipedia: ITV Granada
• Wikipedia: Magic Lantern
• Wikipedia: Sidney Bernstein
• Wikipedia: The Soup Dragons
• Wikipedia: This Morning
• Wilde, Jon (1991). “The Sinister Waltz. (Review of Shift-Work). Melody Maker, 20 April. p.36.
• Wolstencroft, Simon (2014). You Can Drum But You Can’t Hide: a memoir. Trowbridge: Strata Books. (2nd edition published by Route Publishing, 2017).