by Paul Talling
Cat No: DAMBOOK3
Release Date: 23rd June 2022
The second volume of the photographic guide to the iconic lost live music venues of London, as they are today. The first volume, issued in 2020, during the first lockdown featured over 100 lost smaller venues from all over London, this second volume features over 140 more focussing on the larger halls and theatres of London’s musical heyday.
Did you dance the night away at the Hammersmith Palais?
Queue outside the Rainbow theatre to see The Jam or The Osmonds?
Or jive along to rock ‘n’ roll legends at the Cellar Club in Kingston?
Then this is another book is for you!
Paul Talling, author of ‘London’s Lost Music Venues 1’, ‘Derelict London’ & ‘London’s Lost Rivers’ returns his attention to the lost music venues of London.
This time round he focusses on the larger, theatre sized venues as well as a few smaller venues not included in the first volume plus some more recent losses.
This book takes a look at some of the iconic venues of the last 60 years with images, flyers and modern-day photos of what they are now.
Venues include Hammersmith Palais, The Rainbow, The Astoria, The Borderline, The Lyceum and many more.
Featuring photos, adverts & tickets, this book is a reminder of a less homogenised London, taking you back to the city’s halcyon days of Rock N Roll, Jazz, Blues, Rolk, Rock, Punk, Indie and more.
Paul Talling, author of ‘Derelict London’ and ‘London’s Lost Rivers’ (Random House) turns his attention back to some of the iconic venues of the last 60 years with images, flyers and modern-day photos of what they are now.
Praise for Pauls other books:
‘The book is a belter. What we call in my house a Velvet Underground – a great Loo Read’ Paul Ross – BBC London
‘Talling has managed to show another side to the capital, one of abandoned buildings that somehow retain a sense of beauty.’ Metro
‘Excellent . . . As much as it is an inadvertent vision of how London might look after a catastrophe, DERELICT LONDON is valuable as a document of the one going on right in front of us.’ New Statesman