In which I let it rock


In which I let it rock: These are Pamela Poland’s legs. I painted Ms Liberty for Let It Rock for twenty-five quid in December 1972 (published 1973), working in the garret at Willsdon Mansions on Longacre where Pamela composed the song for me, “Remebering all the time we spent in Willsdon Manor…”. Her raised arm has unfortunately been efemulated, where the production lads skinied up her arm to show more ROCK, as a result she looks a little weak I think.

I had first met Pamela back in 1967 with Barney Bubbles. He called me in 1972 to say she was back in town and recording with Gus Dudgeon at some studio in Soho. I visited, she captivated, and we were enraptured.

The work I created for Pete Townshend (see coming attraction) was a photograph I took of the pin-ball arcade that Pete used to play at, with my overpainted image of his guru, Meha Baba, shootin’ ball. (The art was never paid for and was stolen by a penny -a-word gentleman who probably still shuffles down those corridors of drudgery.)

It was because of the attitudes of these paid-by-the-slug guys that I upped and emigrated to Mill Valley, Califonia as soon as I had the chance, the following March, when I left to live a happy retirement with Ms Poland. Which was not be. Ah, romance. She left me for another after two weeks, so I took up residence with her manager, Diane Sward, (later to be a Mrs. Rapaport) and family for a while, then met Margo St. James the whore-leader, and went off to live next door to her and Alan Watts the CofE mystic, at Druid Heights in the lesbian poet Elsa Gidlow’s Goathouse, built by Roger Sommers. But that’s another adventure.