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Brian Poole
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Key Information
Brian Poole (born 2 November 1941)[1] is a singer and performer who was the lead singer of 1960s beat band Brian Poole And The Tremeloes.
Early life
[edit]He was brought up in the East End of London and grew up in Barking, Essex. Poole attended Park Modern Secondary School, Barking and Barking Abbey Grammar School, the school's current headteacher being Tony Roe.
Career
[edit]Brian Poole and The Tremeloes
[edit]Poole met Alan Blakley and Alan Howard, at Park Modern Secondary School, Barking. In 1956, heavily influenced by their interest in rock and roll music, they decided to form a band. The original line-up consisted of Poole (vocals, guitar), Blakley (guitar), Howard (bass) and Graham Scott (guitar). While still in their teens, the band members met and befriended Dave Munden, who shared a love and passion for rock n’ roll. A strong bond was formed, which saw Munden join the band on the drums in 1957. A swift change of tactics saw Blakley switch to guitar, which Poole relinquished to take the title of lead vocalist and thus front the band.
In the early years, the Tremeloes were inspired by Buddy Holly and the Crickets and mainly covered their songs. They quickly gained local fame by playing at small venues in the area; during that time, their singing style developed and flourished. With Poole's Holly-style glasses and the band's unique style of harmony, the Tremeloes soon developed a wide fan-base and following. This continued to grow until they became one of the top dance hall attractions across Great Britain. On New Year's Day in 1962, the Tremeloes auditioned for a record contract with Decca Records, along with another up-and-coming band, the Beatles. Their regular slot on BBC Radio and large following meant that the Tremeloes were an obvious choice, and they were signed by the record label. Upon signing with Decca, the company bosses insisted that the band be billed as 'Brian Poole and the Tremeloes', since this was the trend at the time.[1]
The band quickly embraced their new name. Their diverse musical talents meant that as well as recording their own singles, they also performed as backing for other recording artists. Their first chart entry was "Twist and Shout" in June 1963 (a cover version of a song by the Isley Brothers that was also covered by the Beatles). "Twist and Shout" reached number four on the UK Singles Chart, selling over one million copies, and other chart hits were soon to follow. In September 1963, they released "Do You Love Me". It reached number one in the UK charts, famously knocking the Beatles’ second number one hit, "She Loves You", from the top slot. "Do You Love Me" remained at the top of the charts for three weeks. 'Brian Poole and the Tremeloes' continued to produce hits and thrive in the UK charts, with tracks such as "Candy Man" (which reached number six) and the popular ballad "Someone, Someone" (which reached number two).
In 1966, Poole left the Tremeloes to begin a solo career and pursue other opportunities,[1] one of which included starting his own record label called Outlook Records. Bass player Alan Howard also left, and was replaced by Len Hawkes. Blakley, Munden, Westwood, and Hawkes continued as the Tremeloes.
Later career
[edit]By the late 1960s, Poole was unable to keep up his reputation and spent most of the 1970s out of the music business working in his brother's butcher shop. Although he initially jokingly explained his focus on the family business by saying “My brother asked me to mind the shop one afternoon, he went out and never came back”, he clarified "It would be nice if that WAS the story. The truth is that my daughters were young and I wanted to spend more time at home. The family had got together and went into this big vacuum packing thing supplying supermarkets like Tesco and Asda. It was new in those days and I contracted all the machinery and got them transported. They were big things, cost around £30,000 each. We had 15 shops and the family worked in all the shops. If I didn't pop in to see them when I was in the area they would be asking, who does he think he is? So the shop story got about."[2] Poole states that comedy duo Cannon and Ball persuaded him to return to music: “I went to see Cannon and Ball at Great Yarmouth and they saw me in the audience, stopped the show and said I should be back in the businesses where I belonged. I talked about it to the wife all the way home and decided I was going back”.[2]
In 1988, Poole formed the supergroup The Corporation with Tony Crane (of The Merseybeats), Clem Curtis (of The Foundations), Mike Pender (of The Searchers), and Reg Presley (of The Troggs), all of whom were the lead singers for other 1960s beat groups.[3] They only released one single, a cover of The Showstoppers' old hit "Ain't Nothing But a House Party". They split up that same year.
Poole had thoughts of retiring again in the early 2000s, but was also talked into staying in the industry, this time by the late Gerry Marsden of Gerry and the Pacemakers.[2] Since then, he remains active, mainly touring either as a solo artist or in a 1960s nostalgia tour.
Poole has appeared twice at the Sixties Gold nostalgia circuit tour. In 2013, he toured with Len Hawkes, performing Tremeloes songs, and in 2017, Poole and Hawkes appeared on the Sixties Gold tour a second time, this time with Dave Munden as well.[4][5]
Family
[edit]In 1968, he married Pamela Poole (née Rice). Their two daughters, Shelly and Karen Poole, are both successful singer-songwriters. In the late 1990s and early 2000s, Karen and Shelly comprised the pop duo Alisha's Attic, who released three hit albums. They have both been part of many other projects since Alisha's Attic released its last album in 2001.
Poole lives in Milton Keynes, Buckinghamshire.[2]
Discography
[edit]Solo singles
[edit]| A-Side | B-Side | Label | Release year |
|---|---|---|---|
| "Everything I Touch Turns to Tears" | "I Need Her Tonight" | CBS | 1966 |
| "Hey Girl" | "Please Be Mine" | DECCA | 1966 |
| "Just How Loud" | "The Other Side of the Sky" | CBS | 1967 |
| "That Reminds Me Baby" | "Tomorrow Never Comes" | CBS | 1967 |
| "Send Her to Me" (Brian Poole & the Seychelles) | "Pretty in the City" | President | 1969 |
| "What Do Women Most Desire" | "Treat Her Like a Woman" | President | 1969 |
| "Satisfied" (Brian Poole & Carousel) | "Red Leather" | Pinnacle | 1975 |
| "Ain't Nothing But a House Party" (The Corporation) | – | – | 1988 |
References
[edit]- ^ a b c Eder, Bruce "Brian Poole Biography", Allmusic. Retrieved 17 August 2014
- ^ a b c d "Back in the Poole... INTERVIEW: Brian Poole; Gerry Marsden made a proposition to Brian Poole and the rest is history - or, at least, a potted telling of the story of rock and roll. Philip Key meets the man behind the Tremeloes, who put his music on the back burner for the sake of the family. - Free Online Library". www.thefreelibrary.com. Retrieved 4 September 2023.
- ^ Brian Poole And The Tremeloes, 45rpm website
- ^ BrianPoole. "Sixties Gold 50th Anniversary Tour | Brian Poole". Retrieved 6 April 2024.
- ^ "Brian Poole Interview - Sixties Gold Tour". SOUTHEND THEATRE SCENE. Retrieved 6 April 2024.
External links
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Brian Poole
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Early life
Upbringing
Brian Poole was born on 2 November 1941 in Dagenham, England.[1] He grew up in the nearby area of Barking, Essex.[8] His early exposure to music came primarily through local radio broadcasts and records, introducing him to American rhythm and blues, country, and emerging rock 'n' roll sounds from the mid-1950s, including influences from artists like Bill Haley, Elvis Presley, and Jerry Lee Lewis.[9] This home and community environment laid the groundwork for his transition into formal education and initial musical explorations.Education and early musical interests
Brian Poole attended Park Modern Secondary School in Barking, Essex, beginning his secondary education around 1952.[10] He later enrolled at Barking Abbey Grammar School, where his academic pursuits continued alongside emerging personal interests.[10] During his time at Park Modern Secondary School, Poole formed key musical friendships that shaped his early development, notably with classmate Alan Blakley in 1956.[11] Together, they began experimenting with music, initially inspired by the skiffle craze led by Lonnie Donegan and the rock 'n' roll energy of Elvis Presley.[11] These school years marked the start of Poole's hands-on involvement, as he and Blakley acquired acoustic Höfner guitars and practiced songs by Buddy Holly and the Everly Brothers, blending vocal harmonies with rudimentary instrumentation.[11] Poole's passion for music grew through these adolescent experiments, transitioning from casual jamming in school settings to more structured rehearsals that balanced his GCE and RSA exam preparations.[11] This period laid the groundwork for his vocal style and group dynamics, fostering a deep appreciation for accessible, rhythm-driven genres that defined British youth culture in the late 1950s.[11]Career
With Brian Poole and the Tremeloes
Brian Poole formed the band in early 1958 while attending Park Modern Secondary School in Barking, Essex, initially naming them the Tremilos or Tremeloes, inspired by Buddy Holly and the Crickets.[12] The original lineup included Poole on vocals and guitar, Alan Blakley on rhythm guitar and vocals, Alan Howard on bass, and Dave Munden on drums, with Rick Westwood soon joining as lead guitarist.[13][2] The group began performing locally as a backing band for vocalists and honed their sound through school and youth club gigs, focusing on rock 'n' roll covers.[14] On January 1, 1962, the Tremeloes auditioned for Decca Records at their London studios, the same day as the Beatles; Decca executives, including A&R manager Dick Rowe, selected the Tremeloes partly because they were local to the area, reducing travel costs compared to the Liverpool-based Beatles.[15] Upon signing with Decca later that year, the band was renamed Brian Poole and the Tremeloes to capitalize on Poole's charismatic lead vocals and stage presence.[16] Their early releases included "Twist Little Sister" and "Keep on Dancing," but breakthrough success came in 1963 with covers of American hits, establishing them as a prominent British Invasion act.[5] The band's style evolved into that of a classic English beat group, blending energetic rhythms with harmonious pop covers of R&B and rock standards, which resonated with teenage audiences during the mid-1960s youth culture boom.[17] Key hits included "Twist and Shout," a cover of the Isley Brothers' track that reached No. 4 on the UK Singles Chart in November 1963, followed by their sole No. 1, "Do You Love Me," adapting the Contours' Motown original and topping the chart for three weeks starting in October 1963.[18][19] In 1964, "Candy Man" (a Roy Orbison cover) peaked at No. 6, and "Someone, Someone" hit No. 2, while 1965 saw moderate success with "Three Bells" at No. 17 and "I Want Candy" at No. 25, marking their commercial peak from 1963 to 1965 with multiple top-10 entries.[20][21][22] During this period, Brian Poole and the Tremeloes became fixtures on British television, making frequent appearances on Top of the Pops and shows like Ready Steady Go! to promote their singles, alongside cameos in films such as Just for Fun (1963).[23] They toured extensively across the UK, sharing bills with contemporaries like the Hollies and supporting major acts on package tours, which helped solidify their popularity among fans despite internal tensions over repertoire and direction.[24] The group's dynamic centered on Poole's dynamic frontman role, with Blakley contributing songwriting and harmonies, though creative frictions arose as Poole leaned toward cabaret-style performances while the others preferred continuing their beat-pop sound.[14] By 1966, these differences, compounded by managerial disputes, led to Poole's departure from the band in January, ending the Brian Poole and the Tremeloes era after a string of hits that defined their brief but impactful run.[25]Solo career and immediate post-Tremeloes work
After departing from the Tremeloes in early 1966, Brian Poole launched his solo career with the single "Everything I Touch Turns to Tears," backed by "I Need Her Tonight," released on CBS Records (catalog 202349). Produced by Mike Smith, the track—a cover of a song originally recorded by Jimmy Clanton—failed to achieve any notable chart position, marking a challenging start to his independent endeavors. Later that year, Poole issued "Hey Girl" / "Please Be Mine" on Decca Records (F12402), but this release also did not garner commercial success.[26] In 1967, Poole continued with two further singles on CBS: "Just How Loud" / "The Other Side of the Sky" (3005) and "That Reminds Me Baby" / "Tomorrow Never Comes" (202661). He followed up in 1968 with "Send Her Away" / "Don't Make Me Cry" (CBS 202950). These efforts, reflecting a pop-oriented style rooted in his beat group background, similarly struggled to break through, receiving limited airplay and sales amid the evolving British music landscape. The late 1960s saw a shift from the energetic beat music of the mid-decade to more experimental psychedelia and progressive sounds, which overshadowed traditional pop acts like Poole's solo output. None of these singles charted in the UK Top 40, highlighting the difficulties in transitioning from band frontman to solo artist.[26][17] Poole's immediate post-Tremeloes period involved sparse media appearances and touring opportunities, as his solo releases failed to replicate the visibility of his earlier group hits. With bookings diminishing in the face of the changing scene, Poole's focus waned by the late 1960s, leading him to explore other ventures including a brief foray into record production. This phase underscored the commercial hurdles faced by many British Invasion-era performers adapting to solo independence.[17]Later projects and ongoing performances
After his unsuccessful solo efforts in the late 1960s and early 1970s, which included founding the short-lived Outlook Records label, Brian Poole briefly retired from the music industry to assist in his family's butcher shop in Dagenham, Essex, focusing on business ventures during this period.[17][12] Poole revived his performing career in 1988 by forming the supergroup The Corporation, alongside Reg Presley of The Troggs, Mike Pender of The Searchers, Tony Crane of The Merseybeats, and Clem Curtis of The Foundations—affectionately dubbed the "Travelling Wrinklies." The group released the single "Ain't Nothing but a House Party," a cover of the 1960s Showstoppers hit.[26][27] In the 1990s, Poole returned to the stage through 1960s revival tours, capitalizing on growing nostalgia for the era's music; this included a 12-week "Solid Silver Sixties" tour in 1999 and a 16-week UK package tour for British Holidays that same year.[12] Poole continued this resurgence into the 2000s and beyond, participating in nostalgia packages such as the Sixties Gold tour, which featured him alongside acts like The Tremeloes (with Len "Chip" Hawkes), Herman's Hermits, and The Marmalade; the tour remained active through at least 2017.[28] As of 2025, at age 84—having marked his birthday on November 2—Poole sustains an active presence on the retro music scene, delivering ongoing nostalgia concerts and festival appearances that highlight his Tremeloes-era hits.[29][12] During a 2025 event ahead of the Royal Variety Performance, Poole shared a memorable interaction with Princess Anne, where, feeling nervous upon greeting her, he apologized with "Sorry, Ma'am, I'm nervous"; she encouraged him by replying, "You don't have to call me Ma'am. I'm like everyone else, don't worry," easing his pre-performance anxiety.[30]Personal life
Marriage and immediate family
Brian Poole married Pamela Poole in 1968.[31] Their marriage, which has lasted over 57 years as of 2025, has offered personal stability through various phases of his professional life.[6] The couple has two daughters: Shelly Poole, born on March 20, 1972, and Karen Poole, born on January 8, 1971.[32][33] The family has resided in Bedfordshire since relocating from London, fostering a quieter domestic life amid the demands of Poole's public career in music.[6] Shelly and Karen Poole briefly pursued musical endeavors together as the duo Alisha's Attic.[34]Extended family and notable relatives
Brian Poole's daughters, Shelly and Karen Poole, have established prominent careers in music as performers and songwriters, extending the family's legacy in the entertainment industry from the 1960s into contemporary pop. Shelly Poole co-formed the English pop duo Alisha's Attic with her sister Karen in 1989, releasing their debut album Alisha Rules the World in 1996. The lead single "I Am, I Feel," co-written by the sisters and produced by Dave Stewart, peaked at number 14 on the UK Singles Chart and received an Ivor Novello Award nomination for Best Song Musically and Lyrically.[35][36] Alisha's Attic achieved commercial success with 11 hit singles across three albums and four gold- or platinum-certified releases in the UK.[37] Following the duo's disbandment in 2001, Shelly transitioned to songwriting and music supervision, contributing to projects including film scores and bespoke compositions for artists and media.[38][39] Karen Poole, who shared vocal and songwriting duties in Alisha's Attic, has built an acclaimed solo career as a topline songwriter, collaborating with major acts such as Sugababes on their number-one hit "Round Round" (2002) and Kylie Minogue on tracks from the album Body Language (2003).[40] Her work has resulted in over 30 top 20 UK singles and more than a billion global streams, earning her multiple Ivor Novello Award nominations alongside Brit Award nods for songwriting excellence.[41] Growing up in a musical household shaped by their father's fame as the frontman of Brian Poole and the Tremeloes during the 1960s British Invasion, the sisters drew early inspiration from his performances and industry connections, which facilitated their entry into the pop landscape.[42] This familial influence is evident in later collaborations, such as the sisters co-writing a single for their father's recent recordings.[12]Discography
Solo singles
Brian Poole's solo singles career began in 1966 following his departure from the Tremeloes, with releases primarily on major UK labels but achieving limited commercial success, as most failed to enter the UK Singles Chart.[26] His output featured original material and covers, often backed by session musicians or short-lived groups, contrasting the chart-topping hits of his band era.[27] In 1966, Poole released "Everything I Touch Turns to Tears" backed with "I Need Her Tonight" on CBS (202349), a poignant ballad that did not chart but marked his initial solo foray.[26] Later that year, "Hey Girl" / "Please Be Mine" appeared on Decca (F12402), a cover of the Mort Shuman-penned track originally popularized by Freddie and the Dreamers, also without chart impact.[26][1] The year 1967 saw two CBS releases: "Just How Loud" / "The Other Side of the Sky" (3005) and "That Reminds Me Baby" / "Tomorrow Never Comes" (202661), both upbeat pop tracks produced in London studios, neither reaching the charts.[26] By 1969, Poole collaborated with The Seychelles for two President Records singles: "Send Her To Me" / "Pretty in the City" (PTF 239) and "What Do Women Most Desire" / "Treat Her Like a Woman" (PT 264), reflecting a shift toward more experimental pop arrangements, but these too failed to chart.[26][27] A notable gap occurred during the early 1970s, coinciding with Poole's hiatus from recording amid personal and professional transitions.[26] He returned in 1975 with "Satisfied" / "Red Leather" on Pinnacle (P8407), credited to Brian Poole & Carousel, a soul-influenced track that received airplay but no chart entry.[26][27] Further releases were sporadic in the 1980s, starting with 1983's medley "Do You Love Me / Twist and Shout" backed by "Time and Tide" on Outlook Records (OUT 100K), performed with Tramline as a nostalgic nod to his Tremeloes hits, which did not chart.[43] That same year, "Someone, Someone" backed by "Let It Rock" appeared on Sumatra Records (SUM 4) with Black Cat, revisiting another early cover from his band days, also non-charting.[27] In 1988, Poole led The Corporation—a supergroup featuring fellow 1960s vocalists Tony Crane, Clem Curtis, Mike Pender, and Reg Presley—on their debut single "Ain't Nothing But a House Party" backed by "Valerie" (Corporation Records KORP 1), an upbeat party anthem produced to evoke the era's energy, but it achieved no UK chart position.[44][26] Additionally, a split single with Brenton Wood, featuring Poole's "Do You Love Me" / Wood's "Gimme Little Sign" on Bellaphon (100·07·465), served as another re-recording tribute, without commercial breakthrough.[27]| Year | A-Side / B-Side | Label (Catalog) | Notes |
|---|---|---|---|
| 1966 | Everything I Touch Turns to Tears / I Need Her Tonight | CBS (202349) | Original ballad; non-charting |
| 1966 | Hey Girl / Please Be Mine | Decca (F12402) | Cover; non-charting |
| 1967 | Just How Loud / The Other Side of the Sky | CBS (3005) | Pop track; non-charting |
| 1967 | That Reminds Me Baby / Tomorrow Never Comes | CBS (202661) | Upbeat single; non-charting |
| 1969 | Send Her To Me / Pretty in the City (with The Seychelles) | President (PTF 239) | Experimental pop; non-charting |
| 1969 | What Do Women Most Desire / Treat Her Like a Woman (with The Seychelles) | President (PT 264) | Relationship-themed; non-charting |
| 1975 | Satisfied / Red Leather (with Carousel) | Pinnacle (P8407) | Soul-influenced; non-charting |
| 1983 | Do You Love Me / Twist and Shout (medley) / Time and Tide (with Tramline) | Outlook (OUT 100K) | Medley tribute; non-charting |
| 1983 | Someone, Someone / Let It Rock (with Black Cat) | Sumatra (SUM 4) | Cover re-recording; non-charting |
| 1988 | Ain't Nothing But a House Party / Valerie (with The Corporation) | Corporation (KORP 1) | Supergroup party track; non-charting |
| 1988 | Do You Love Me (split with Brenton Wood's Gimme Little Sign) | Bellaphon (100·07·465) | Nostalgic re-recording; non-charting |