In 1972

In

1972

Burnside gallery, Selkirk 07.05.25 – 14.06.25 Exhibition Richard Demarco • Andy Murray

This catalogue shows Leeds Polytechnic music posters.

Joint exhibition that shows different creative expressions of the tumultuous theatre and music scene in the 1970s.

Andrew Murray shows original and reproduction posters from 1972 to 1974.

Separate catalogue: Richard Demarco shows photographs from theatre productions in 1972.

Exhibition dates: Wednesday 07 May – Saturday 14 June 2025

Reproduction screen prints by Hippo Screen printers, Essex Reproduction inkjet and digital prints by Richardson’s, Hawick *inc. bleed ** not inc. bleed

Poster images © individual designers.

Reproduction other than under Fair Use laws prohibited without prior written approval.

In 1972 Posters designed by: Andy Murray, James Hutcheson, Martin Salisbury and Bob Baxter

I was studying graphic design, which they called ‘Communication Design’, at Leeds Polytechnic (now Leeds Beckett University) from 1971 to1975. As a huge music fan, I thought the advertising for the shows that the Poly put on could be improved.

The posters were A4 designs, done by the printer, so I offered to supply art from myself and fellow students for nothing, on the basis that we could have larger, 2-colour posters.

From the summer of 1973 to 1974 I worked full time for the Students Union, booking the events, so I commissioned fellow student James Hutcheson and our tutor Martin Salisbury to produce A2 posters, mostly 1-colour on coloured stock.

Screen printing was the affordable medium at the time, but rarely used nowadays. I had kept samples of the posters on show here, along with the original art for a couple of them.

For this exhibition I wanted to replicate the effect of screen printing, which involves a greater weight of ink than lithography, so I was able to reproduce a few of the posters in the original print medium.

The others have been very ably reprinted in 4-colour, or 1-colour, inkjet or digital print. The originals are bit more weathered, as you can imagine, after some 50 years.

The UK live music business developed a more homogenised approach, using one standard

poster created by the artists or their management, and these days almost everything is created digitally for online use.

These artefacts, created as oneoffs for specific local events, may give an insight into a design and print process that no longer exists.

Andy Murray, May 2025

Curved Air

29 September

Size: 72cm x 50.5cm**

Designer: Andy Murray

Original print: 2-colour screen print.

Reproduction: 4-colour inkjet.

Edition: 10.

Original 3D set included ‘curved air’ (plastic tube), clouds (cotton wool) and ‘trees’ (wood turned in Polytechnic Art Dept workshop). All rephotographed.

Lettering: Letraset on paper, bent into a curve and rephotographed.

Paper: 190 gsm semi-gloss.

1972

Curved Air featured vocalist Sonja Kristina, violinist Darryl Way and keyboardist/guitarist Francis Monkman, later of Sky. They were reportedly much influenced in the early days by Spirit, who played the Poly in 1973.

Their fusion of classical, pop and progressive rock influences helped build a live following, and the launch of their debut album as one of the first picture discs gave them a Top 10 chart position. This was followed by a UK Top 5 hit with ‘Back Street Luv’, although those marked the band’s pinnacle.

They carried on till 1976, including in the lineup future Police drummer Stewart Copeland, but never regained the momentum of the early days, despite reforming in 1984 and again from 1990.

Bristol-based Beatlesque Stackridge were already popular enough in Leeds to merit co-billing on this event and went to headline their own Poly shows in December 1972 and November 1974.

Musical link;

https://www.youtube.com/watch?v=82tcFeK_pkg

Curved Air Size: 72cm x 50.5cm** Reproduction: 4-colour inkjet.

Paper: 190 gsm semi-gloss.

Edition: 10.

November Programme

October

Size: 61cm x 44.8cm*

Designer: Andy Murray

Original print: 1-colour screen print.

Reproduction: 1-colour inkjet.

Lettering: Letraset.

Edition: 10.

Paper: 190 gsm semi-gloss.

1972

The poster lists the full Nov 1972 event lineup, from the Strawbs and Vinegar Joe (featuring Elkie Brooks and Robert Palmer) through An Evening with the Incredible String Band, to the Christmas panto ‘Treasure Island’ by Stackridge and the Pigsty Hill Light Orchestra.

Musical link;

https://www.youtube.com/watch?v=3WyPGDBRFLk

November Programme Size: 61cm x 44.8cm* Reproduction: 1-colour inkjet.

Paper: 190 gsm semi-gloss.

Edition: 10.

Strawbs

November 3

Size: 44.7cm x 31.8cm*

Designer: Bob Baxter

Original print: 2-colour screen print.

Reproduction: 4-colour digital print.

Paper: 250 gsm silk.

Edition: 20.

1972

Originally a bluegrass trio from London suburb Strawberry Hill, the Strawberry Hill Boys shortened their name to the Strawbs when they needed the band name to be larger. Developing into a folk band playing original material, mostly by leader Dave Cousins, the Strawbs added rhythm section Richard Hudson and John Ford, plus keyboard maestro Rick Wakeman, and started having hits. The first was ‘Lay Down’, which charted just prior to their Poly appearance, eventually peaking at No. 12, followed by ‘Part Of The Union’.

Hudson and Ford (as Hudson Ford), left to have hits of their own, while Dave Cousins continued to lead the band through 21 further albums, and a variety of different lineups, until 2023.

Musical link;

https://www.youtube.com/watch?v=IGWnJIMpfCw

Strawbs Size: 44.7cm x 31.8cm* Reproduction: 4-colour digital print.

Paper: 250 gsm silk.

Edition: 20.

The Incredible String Band Size: 44.7cm x 31.8cm* November 17 Original print: 2-colour screen print.

Designer: James Hutcheson

Reproduction: 4-colour digital print.

Paper: 250 gsm silk.

Edition: 20.

1972

Described on Wikipedia as ‘psychedelic folk’, the Incredible String did evolve from an Edinburgh-based folk trio, but developed into an eclectic ever-changing ensemble, based around multi-instrumentalist / singer / songwriters Mike Heron and Robin Williamson. It is claimed that one of Bob Dylan’s favourite songs is ‘October Song’ from their debut album, while Robert Plant has stated an influence on Led Zeppelin.

With support from the music press and DJ John Peel, their classic second and third albums ‘The 5,000 Spirits or the Layers of the Onion’ (1967) and ‘The Hangman’s Beautiful Daughter’ (1968) were chart albums, with the latter going Top 5.

Those remain commercial and career highs, and the band never sought singles success, but were sufficiently well-known to justify an appearance at the 1969 Woodstock festival, sadly not making it into the film, which no doubt would have been a career changer. Still, they were always trying to stretch musical boundaries, which they continued to do with their Poly appearance, ‘An Evening With ...’ featuring an expanded lineup.

The band split in 1974 to permit solo careers for Mike Heron and Robin Williamson, although they reunited occasionally as a band between 1997 and 2003. Poster designer James Hutcheson went on to provide an illustration for the cover of the 1976 compilation album ‘Seasons They Change’.

Musical link; https://www.youtube.com/watch?v=vQf_l_DctNM&list=RDEMoPKt2gq2NrZMZHKNbNNmow&index=1

The Incredible String Band Size: 44.7cm x 31.8cm* Reproduction: 4-colour digital print.

Paper: 250 gsm silk.

Edition: 20.

Fleetwood Mac

November 24

Size: 44.7cm x 31.8cm*

Designer: Andy Murray

Original print: 1-colour screen print on coloured stock.

Reproduction: 4-colour digital print.

Photo: found image.

Lettering: Letraset.

Paper: 250 gsm silk.

Edition: 20.

1972 Blues guitarist extraordinaire Peter Green replaced Eric Clapton in the groundbreaking John Mayall’s Bluesbreakers. Leaving to form his own group, he took with him fellow former Bluesbreakers Mick Fleetwood on drums and John McVie on bass, adding slide guitarist Jeremy Spencer.

Their debut album was an instant UK hit, and followed up with a string of Green-penned hits, seeing the band being the biggest selling act in the UK in 1969. Danny Kirwan augmented the lineup on guitar, but in May 1970 Peter Green left his own band, for health reasons.

The band carried on, recruiting John McVie’s wife Christine, who had seen success in Chicken Shack with ‘I’d Rather Go Blind’, and the early 70s saw constant touring and further albums. None matched the band’s early sales, and a changing lineup of guitar players and singers was a challenge. But the band’s move to California paved the way for massive success from 1976 onwards when the members stabilised as Fleetwood, McVie and McVie, with the addition of Lindsey Buckingham and Stevie Nicks.

Musical link;

https://www.youtube.com/watch?v=cbZRAN-qBts&list=PLNPGM2D7aODdxzOLYSYsPHmrnxl8pV_R1

Fleetwood Mac Size: 44.7cm x 31.8cm* Reproduction: 4-colour digital print.

Paper: 250 gsm silk.

Edition: 20.

Screaming Lord Sutch

December 1

Size: 42cm x 29cm

Designer: Andy Murray

Original print: 2-colour screen print.

Reproduction: 2-colour screen print.

Photo: Andy Murray.

Lettering: Letraset.

Edition: 10.

Paper: 300 gsm Somerset satin

1972

A self-styled ‘Lord’, vocalist David Sutch called himself ‘Screaming Lord Sutch’ after Screamin’ Jay Hawkins, and released a string of horror-themed songs, including ‘Jack The Ripper’. Even in the 1970s, his 50s rock’n’rollbased act was seen as anachronistic, and his status derived less from his musical talent and more from the stellar list of his live band alumni, including Deep Purple’s Ritchie Blackmore, Procol Harum’s Matthew Fisher and Rolling Stones’ pianist Nicky Hopkins, plus many more on record, including Jimmy Page and Jeff Beck.

Having stood for election since 1963, Sutch founded the Official Monster Raving Loony Party in 1982 and contested 39 UK Parliamentary elections, losing his deposit in all of them.

Musical link;

https://www.youtube.com/watch?v=c2ZsWENob1s

Screaming Lord Sutch Size: 42cm x 29cm Reproduction: 2-colour screen print.

Paper: 300 gsm Somerset satin Edition: 10.

Mott The Hoople

March 2

Size: 44.7cm x 31.8cm*

Designer: Andy Murray

Original print: 2-colour screen print.

Reproduction: 4-colour digital print.

Photo: Graham Hough.

Lettering: Letraset.

Paper: 250 gsm silk.

Edition: 20.

1973

After four albums on Island Records, Mott the Hoople were on the verge of breaking up before being saved by the production and songwriting of David Bowie. Bowie, a longtime fan, first offered them ‘Suffragette City’, but Mott preferred the classic ‘All The Young Dudes’, an enduring hit in August 1972.

Listen out for Bowie himself on the chorus.

This firmly established Mott, whose lead singer Ian Hunter became a hit writer himself, with compositions such as ‘All The Way From Memphis’ and ‘Roll Away The Stone’, although those were to follow later in 1973, after their Poly appearance.

In 1974 lead guitarist Mick Ralphs quit Mott to form Bad Company with Free singer Paul Rodgers, and went on to huge success, particularly in the US, starting with ‘Can’t Get Enough’. Ian Hunter went solo in 1975, and moved to the US, from where he maintains a touring and recording career, which started with the Top 20 ‘Once Bitten, Twice Shy’.

Musical link;

https://www.youtube.com/watch?v=9IqiRY60ZDE

Mott The Hoople Size: 44.7cm x 31.8cm* Reproduction: 4-colour digital print.

Paper: 250 gsm silk.

Edition: 20.

Stone The Crows

March 16

Size: 42cm x 29cm

Designer: Andy Murray

Original print: 2-colour screen print.

Reproduction: 2-colour screen print.

Photo: Graham Hough.

Lettering: Letraset rescanned.

Paper: 300 gsm Somerset satin.

Edition: 10.

1973

Formed in Glasgow, blues rock band Stone The Crows featured vocalist Maggie Bell and guitarist Les Harvey, brother of Alex Harvey. The band’s live shows built up a solid reputation, helped by Maggie Bell’s duet with Rod Stewart on the title track of Rod’s No. 1 album of 1971, ‘Every Picture Tells A Story’.

Sadly, Les Harvey was electrocuted on stage in Swansea in 1972, and was replaced by fellow Scot Jimmy McCulloch, late of Thunderclap Newman.

Stone The Crows had a UK Top 40 album in 1972, but no more chart success was forthcoming, and they broke up in June 1973. Featured on the poster are Maggie Bell, who went solo, and Jimmy McCulloch, who joined Paul McCartney & Wings.

Musical link;

https://www.youtube.com/watch?v=sazqW0JvPdc

Stone The Crows Size: 42cm x 29cm Reproduction: 2-colour screen print.

Paper: 300 gsm Somerset satin Edition: 10.

Spirit

March 23

Size: 44.7cm x 31.8cm*

Designer: Andy Murray

Original print: 2-colour screen print.

Reproduction: 4-colour digital print.

Photo: Andy Murray.

Original set included back projection (earth photo from the moon), front projection (face projected on to helmet). Post-production included insertion of ‘astronaut’. Astronaut: Martin Salisbury.

Lettering: Letraset.

Paper: 250 gsm silk. Edition: 20.

1973 Formed in Los Angeles in 1967, the original 5-piece Spirit lineup made 4 well-received albums, including ‘Twelve Dreams of Dr. Sardonicus’, and were apparently an influence on Curved Air, who played the Poly in September 1972.

One of the founding members of Spirit was Randy California, born Randy Wolfe, but dubbed ‘California’ by Jimi Hendrix, with whom he played in New York band Jimmy James and the Blue Flames. Keyboardist Jay Ferguson and bass player Mark Andes left in 1971 to form Jo Jo Gunne, who had a UK hit in 1972 with ‘Run Run Run’, and who played Leeds Poly later, in September 1973.

Spirit carried on with drummer Ed Cassidy and guitarist Randy California, who had also briefly left, but rejoined in time to lead the band as a trio on their 1973 Poly show. The band continued with various lineups led by California, who also recorded solo albums, but finally folded after his sad death, incurred while saving his son from drowning.

Musical link;

https://www.youtube.com/watch?v=faEtYEP2vUs

Spirit Size: 44.7cm x 31.8cm* Reproduction: 4-colour digital print.

Paper: 250 gsm silk.

Edition: 20.

Colin Blunstone

October 4

Size: 64cm x 45cm*

Designer: James Hutcheson

Original print: 1-colour screen print on coloured stock.

Reproduction: 1-colour inkjet on coloured stock. Illustrations: James Hutcheson.

Edition: 20.

Paper: 300 gsm Trophee Intensive Yellow

1973

Colin Blunstone’s airy vocals were a feature of the Zombies’ hits, including the original version of ‘She’s Not There’, later a hit for Santana. Going solo, Colin scored in1972 with ‘Say You Don’t Mind’, a song by Denny Laine, of the Moody Blues and Wings. In 1973 he had another hit with Russ Ballard’s ‘I Don’t Believe in Miracles’, while both were produced by former Zombies Rod Argent and Chris White.

The Poly gig was a double header, with the then-current popularity of Irish singer-songwriter Jonathan Kelly almost meriting co-headlining status. He showcased his new electric band, who received a very enthusiastic welcome.

Musical link;

Colin Blunstone

https://www.youtube.com/watch?v=LsdBXJyAo0E

Jonathan Kelly

https://www.youtube.com/watch?v=BL545nap-Ok

Colin Blunstone Size: 64cm x 45cm* Reproduction: 1-colour inkjet on coloured stock.

Illustrations: James Hutcheson.

Paper: 300 gsm Trophee Intensive Yellow Edition: 20.

Hatfield & The North

November 4

Size: 64cm x 45cm*

Designer: Martin Salisbury

Original print: 1-colour screen print.

Reproduction: 1-colour inkjet.

Paper: 250 gsm white uncoated Edition: 10.

1973

With a name inspired by signage on the A1 motorway, Hatfield & The North were an instrumental rock/jazz band including various luminaries of the ‘Canterbury scene’, out of which had come Caravan, Soft Machine and Matching Mole. A similar band was Gilgamesh, led by pianist Alan Gowen, and the Leeds Poly dates was one of only a few ‘double quartet’ shows, which included separate sets by each band and then all eight performing a 40-minute Gowen composition.

Musical link;

https://www.youtube.com/watch?v=wPTrJ23hcy8&list=PLGfb2R92OHul3x-CqZ-98b5x_jTK5V6xL&index=4

Hatfield & The North Size: 64cm x 45cm* Original print: 1-colour screen print.

Reproduction: 1-colour inkjet.

Paper: 250 gsm white uncoated Edition: 10.

The Wailers

November 23

Size: 59.5cm x 42cm

Designer: Martin Salisbury

Original print: 1-colour screen print on coloured stock.

Reproduction: 1-colour screen print on coloured stock.

Paper: 300 gsm Colorplan Cool Blue Edition: 20.

1973 Before ‘No Woman No Cry’ propelled Bob Marley to international superstardom in 1975, The Wailers were harder-edged reggae pioneers with a ‘classic’ lineup of Marley, Bunny Wailer, Peter Tosh, Aston ‘Family Man’ Barrett, Carlton Barrett and Earl Lindo.

The 1973 album Burnin’ album included ‘I Shot The Sheriff’ but Eric Clapton didn’t release his hit version until 1974, so the Leeds Poly show was ahead of its time, luckily recorded live and released as part of a deluxe edition of Burnin’.

Bunny Wailer wasn’t part of the tour, so the lineup was: Bob Marley (guitar, vocals), Peter Tosh (Guitar, Vocals), Earl Lindo (Keyboards), Aston ‘Family Man’ Barrett (Bass) and Carlton Barrett (drums). The 1973 tour was originally to have been 21 dates, but the band only played 6 of them, so the Poly was privileged to have hosted one of them, recorded for posterity.

Musical link;

https://www.youtube.com/watch?v=2IDeUHYB0Ng&list=PL1GQR2wshpOef8bwmB5ZbKqMLjZ01ynwc&index=9

The Wailers Size: 59.5cm x 42cm Original print: 1-colour screen print on coloured stock.

Reproduction: 1-colour screen print on coloured stock.

Paper: 300 gsm Colorplan Cool Blue Edition: 20.

Jack The Lad

November 30

Size: 64cm x 45cm*

Designer: Martin Salisbury

Original print: 1-colour screen print on coloured stock.

Reproduction: 1-colour inkjet on coloured stock.

Paper: 300 gsm Trophee Intensive Yellow Edition: 20.

1973

Newcastle folk-rock band Lindisfarne, based around singer-songwriter Alan Hull, had huge UK success with their second album ‘Fog On The Tyne’.

Their breakthrough single, though, was ‘Meet Me On The Corner’, written by non-singing bassist Rod Clements.

After the third album, the band imploded under the pressure of having to maintain momentum, so it seemed natural for Alan Hull and singer/ harmonica & mandolin player Ray Jackson to go solo, the latter having achieved some notoriety by contributing the classic mandolin part on Maggie May by Rod Stewart.

Jack The Lad was the band formed by the other 3 Lindisfarne members plus singer / guitarist Billy Mitchell. Following a similar folk/rock style, the first two singles were written by bass/violin player Rod Clements, including the airplay (but not sales) hit ‘Why Can’t I Be Satisfied’? Both Jack the Lad and Lindisfarne have reunited intermittently over the years, and still tour today.

Musical link;

https://www.youtube.com/watch?v=m7qMVvzbyIY

Jack The Lad Size: 64cm x 45cm* Reproduction: 1-colour inkjet on coloured stock.

Paper: 300 gsm Trophee Intensive Yellow Edition: 20.

The Sutherland Bros & Quiver

Size: 59.5cm x 42cm

Designer: Martin Salisbury

November 30 Original print: 2-colour screen print.

Reproduction: 2-colour screen print on coloured stock.

Edition: 20.

1973 Songwriting brothers Gavin & Iain Sutherland had released two albums, one of which included the original version of Rod Stewart’s ‘Sailing’, but had little success until in 1973 they teamed up with rock band Quiver. The combined Sutherland Brothers & Quiver’s first single went to No. 20 in the US Cashbox chart, and No.25 in Canada, but was not a UK hit. Still, they built up a well-regarded live act in Britain, with album releases, plus a change of record label, which culminated in the 1976 hit single ‘Arms of Mary’.

By 1979 the combo had lost the services of the original Quiver personnel, but the Sutherland Bros. continued for a while, before each going solo. The Quiver musicians went on to work with various high profile artists: bassist Bruce Thomas to Elvis Costello & The Attractions; drummer Willie Wilson and keyboardist Peter Wood became part of the ‘surrogate’ band in Pink Floyd’s ‘The Wall’ production; and guitarist Tim Renwick became a wellknown featured player for Al Stewart, Pink Floyd, Elton John, Eric Clapton and many others.

Musical link;

https://www.youtube.com/watch?v=wMwxgecA0W0

The Sutherland Bros & Quiver Size: 59.5cm x 42cm Reproduction: 2-colour screen print on coloured stock.

Paper: 300 gsm Somerset satin Edition: 20.

An Evening of Baroque Music

Size: 59.5cm x 42cm

Designer: Martin Salisbury

February 8 Original print: 1-colour screen print.

Reproduction: 1-colour screen print.

Paper: 300 gsm Somerset satin Edition: 20.

1974 As an opportunity to present more diverse musical offerings, the Poly hosted an evening of Baroque music, led by harpsichordist Alan Cuckston, a renowned pianist, conductor and lecturer. The programme included music by Bach, Vivaldi, Tartini and Rameau, played by Alan Cuckston (harpsichord), Stephen Preston (baroque flute), Galina Solodchin (violin) and Joy Hall (cello).

Musical link;

https://www.youtube.com/watch?v=erUiw6E8iAE

An Evening of Baroque Music Size: 59.5cm x 42cm Original print: 1-colour screen print.

Reproduction: 1-colour screen print.

Paper: 300 gsm Somerset satin Edition: 20.

Stackridge

November 29

Size: 64cm x 45cm*

Designer: Andy Murray

Original print: 1-colour screen print on coloured stock.

Reproduction: 1-colour inkjet on coloured stock.

Illustration: James Hutcheson.

Paper: 300 gsm Trophee Intensive Yellow Edition: 20.

1974

Bristol’s Stackridge first played in Leeds at the University as the opening act for Wishbone Ash but quickly became a local favourite, playing at Kitson College and many times at the Polytechnic, inspiring a fan club, the Leeds Lummy Days Society.

Their lineup of guitar, keyboards, bass, drums, flute, violin and vocals meant they could cover a very wide of genres, from pure pop, through psychedelia and progressive rock, to music hall and folk.

Perhaps they were too diverse: their eclectic, Beatlesque and whimsical shows didn’t lead to chart albums, despite one of them being produced by George Martin, but group members Andy Davis and James Warren did at least go on to form The Korgis and had hits with ‘If I Had You’ and ‘Everybody’s Got To Learn Some Time’.

The band did reform from time to time until their final show in 2015.

Musical link;

https://www.youtube.com/watch?v=NLmThFkxDgw&list=OLAK5uy_lMVqT72Z8qcLCEFn01yBgJHO1VTwZlYaw&index=3

Stackridge Size: 64cm x 45cm* Reproduction: 1-colour inkjet on coloured stock.

Paper: 300 gsm Trophee Intensive Yellow Edition: 20.

In

1972

Youtube video link for ‘In 1972’

https://www.youtube.com/watch?v=9xHBkwQ3MfM Thanks to:

Many thanks to:

Lynne Blackburn of Hippo Screen printers, Essex

James Hutcheson and Martin Salisbury for permission to reproduce their work.

www.hipposcreenprinters.com

Robert Scott & Jamie Richardson of Richardsons Printers, Bob Baxter and Graham Hough were not contactable but are urged to get in touch.

Hawick www.richardsonprinters.com

burnsidegallery.co.uk