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The Tatlocks is the title for the collaborative work of Chris Wilkinson and Chris Sammon. It's a little known fact that Chris Wilkinson is the only child of the ill fated relationship between William Roache and Faye Dunaway, although Roache has often denied this. He began his musical career on the West End playing the lead role of 'Oliver' in the Lional Bart production. This was to be his only starring role in the West End however as he was gripped by anarchistic tendancies towards the end of the punk movement and moved into a squat with Jimmy Persey and Steve Jones. It was his misfortune to be able to play guitar and consequently none of the succesful bands of the era were interested in allowing him to join. In the mid-80's Chris toured as a sound engineer with Bucks Fizz but was sacked when, alledgedly, he spurned the advances of Mike Nolan. Chris spiralled into a depression and formed the now infamous post-punk band Razered Wrist and following the mass suicide of the rest of the band went on to have a faltering solo career. A decade of musical anonymity followed as he became heavily involved in the Hertfordshire neo-Green movement leading the now legendary Luton Tesco recycling-centre riots which resulted in a second paper storage skip being placed in car park 2. His musical spark was reignited during a chance meeting with Nick Owen, who mistook him for Michael Crawford and he formed the awesome Volume Brothers after being nagged for three weeks to perform Phantom of the opera on Good Morning. It seems strange that 5 years on from their formation, that Wilkinson should regress and allow himself to be associated with The Tatlocks, arguably the worst band that doesn't exist. Chris Sammon plays acoustic guitar because there is no electricity in the north of England. Having begun his career playing a roughly-hewn stone lute using a piece of flint to strum the twig strings, Chris came to the fore as a musician in the remote northern hamlet of Barnsley in 2006 following the arrival of an acoustic guitar on a horse-drawn wagon which had originally left London, or as it is known up north, “civilisation”, in the early 1930s. The arrival of such an extraordinarily modern instrument caused consternation in Barnsley; several prominent religious leaders immediately (and correctly as it turned out) declaring it to be the work of the devil. Chris Sammon, having sensed potential in the instrument beat off several other would-be musicians with a northern club to claim it for himself and immediately confirmed everybody’s worst fears by failing to get any kind of recognisable tune out of it. Typically though, Chris used this to his advantage, and so the imfamous “Sammon Chord” was born. It is of course for the Sammon Chord that Chris is best known, but he’s done some other stuff as well, and here it is on this page...
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