ITS true that bodies from ancient burials were discovered by workmen in 1955 when excavations were started for the foundations of Lewis's store — which opened two years later. This was not unexpected as this area had anciently been part of the vast churchyard of St James, the oldest medieval church in the city. Because screens were put up, rumours soon spread around the city that these bodies were those of plague victims — buried outside the churchyard. Some of them may have died of some sort of plague — rather than the plague, which decimated at least a third of Bristol's population in medieval times — but most would have died of illness or just old age.
The real plague victims were not buried in the city — that would have put other people at risk — but were carried off at night by cart to large specially-dug plague pits near Dundry and the bodies covered with quicklime.
But why, you might still ask, did these bodies turn up in Broadmead, so far from the church? Well, by the early 1800s the enclosed St James' churchyard was being used as a public open space.
In 1838, the Haymarket was relocated to the southern half of the graveyard and in 1882 this became a public open space. Some years later, in 1896, the land was bought by the Corporation to save it from being built on. It remained a garden park — with the burials still beneath it — until 1955 when it was sacrificed for Lewis's store. The bodies, were re-interred at Greenbank cemetery.
'Under one of the shops (Bentalls) in The Horsefair, Broadmead is the site of another supposed Plague Pit. In 1954, excavations made it clear that what for years had been thought the site of a plague pit was in fact part of the old St James's churchyard.'
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Fact 215: Tragic tale of the 'boy hero' who saved toddler
A MEMORIAL brass plaque in Horfield Parish Church... a child's hoop and a child's shoe... a cry in the night...All key elements of a strange story from long ago—a story unknown to the present generation, yet one that once gripped the hearts of every Victorian family in the city. October 23,1874 was a Friday and on that morning Ernest Price, a boy of three, was playing with his hoop near his home in St Paul's.
Then an older boy, Archie Walters, aged six, whose home was nearby, appeared on the scene. Archie ran off with the younger boy's hoop and Ernest went after him. We will never know what the older boy's motive was, but he set off in the direction of Ashley Hill. Somehow these two small boys found their way onto the railway line where it runs below Ashley Down. They walked beside the tracks heading for Horfield, which in those days was an isolated village. Here Ernest lost one of his shoes, discovered later near the tracks.
A man they ran into, a labourer called John York, assumed that they were Horfield boys and told them to hurry home. Back in St Paul's, Mrs Walters, a widow, had not seen Archie all day. After searching the district she finally informed the police. Engraver Edward Price, Ernest's father, only discovered that his son was missing when he returned home from work. He, too, made a fruitless search. Berry Lane Farm, demolished soon after the First World War, stood just where Chedworth Road joins Berry Lane today. In those days it was occupied by a Mrs Roslyn, who, with the help of her three sons, farmed its many acres. On the Saturday morning the three Roslyn brothers were walking to work when one of them caught sight of an unusual object lying in a furrow. As they drew nearer, they discovered it was a child — Archie Walters. He was unconscious and hadn't anything on but his shirt, boots and socks. Lying by his side, and wearing Archie's clothes, was little Ernest Price. Although cold, he seemed quite all right, even asking about his hoop. A doctor who was called found Archie wrapped in a shawl before a blazing fire—but still unconscious. He battled to bring the boy round but he died without recovering consciousness.
Ernest, in contrast, responded quickly to treatment, and his father appeared to claim him. The boy was questioned, and very slowly, the story of their adventures started to emerge.The bigger boy had said he was going to sleep in the fields and had offered Ernest his clothes when the youngster had complained of the cold. Bishop Walshaw Howe wrote about the tragic incident in a book called A Boy Hero and Horfield parishioners subscribed for a stained glass window and plaque to the boy in their parish church. It reads 'To the Glory of God and of the Boy Hero, Archibald Walters, who gave his life to save his friend, October 23,1874.' Archie was given a hero's funeral and then buried in Arno's Vale.
Fact 216: Tales of Bristol's Public Houses
THE oldest licensed premises in Bristol is on the site of The Rummer pub in the High Street. It dates back to 1241 when it was known as the Green Lattis. The Full Moon in Stokes Croft and The Shakespeare in Victoria Street are also ancient inns but The Hatchet, dated 1606, comes a close third, even ahead of King Street's historic Llandoger Trow.
The Hatchet inn was originally called Frogmore Farm and it was situated in Frog Lane — a major route out of town towards the Rownham Ferry at Hotwells. It's been suggested that it may have taken its name from the woodcutters of Clifton Wood who once drank there but one thing that is known for sure is that it became a well-known centre for boxing, cock-fighting and dog-fighting. It was run for generations throughout Victorian times by the Loveridge family who, in 1934, sold out to a brewery. The pub is a lucky survivor, firstly of the Bristol blitzes and secondly from the 1960s redevelopment of the area that saw the old Entertainment Centre complex arise from the rubble of many old cottages.
ONE of Bristol's favourite pubs is the 'Corrie' - the Coronation Tap in Clifton village. We know that 300 years ago it was a farmhouse called Clifton Farm which supplied the small local population with milk and vegetables. By 1806, however, it was selling beer and probably the cider for which it is still well known today. When run by well-respected landlord Dick Bradstock many years ago, drinkers had to abide by his strict 'house rules'. This meant that women could only be served half pints, the word 'scrumpy' was not allowed to pass customers lips and no spirits or wines were served.
There are persistent old stories that the Don John Cross pub in Church Road, St George was named aftera Spanish nobleman whose funeral procession stopped there, the answer seems more prosaic. Donjon was an alternative spelling of dungeon. Bristol's medieval castle was nicknamed The Dungeon, so could this have been the local 'lock-up' for people who transgressed 'Forest' law — i.e. poaching or stealing wood? The most widely accepted theory about the pub's name is that it was taken from the Don John cross—and there was one—put up by the castle's constable to mark the boundary of the medieval Kingswood Forest.
A map dated 1600 shows the cross situated at the junction of 'London Waye' and 'Bathe Waye' (now Clouds Hill Road and Summerhill Road). This was also the site of immensely unpopular toll gates which were torn down by a mob in 1749, and also the place where criminals and suicides were buried under the road. These included Long Jack, a local ruffian, who was dug up by a noted Bristo! surgeon to be dissected. The body had to be hastily returned when Jack's equally violent friends heard rumours about the snatch and went to check that he was still in his final resting place—six feet under.
DON JOHN’S CROSS Church Road
1830 - 61. Thomas Marks / 1863 - 65. J. Smith / 1870 - 71. John Bryant / 1872. Mrs Bryant 1879 - 88. William Francis / 1893. Thomas Brown / 1897 - 1909. Robert Weight / 1914 - 17. Annie Weight 1921 - 31. Edward Hale / 1935 - 44. Alfred Meacham / 1950 - 53. Arthur Bateman the Don John’s Cross was demolished in 2005
The Llandoger pub in King Street derives its name from Llandogo, a village up the Wye valley, from where "trows" came to the Wesh Back area of Bristol. ONE of the very few survivors of what had once been a huge fleet of Severn "trows" came to Bristol for the Festival of the Sea back in 1996. They were essentially flat-bottomed barges, about 70 feet long, with an 80-foot-high mast and a single sail which could be navigated by just a man and a boy.
They were usually made of wood—and later iron—from the Forest of Dean and were capable of carrying large amounts of cargo. They sailed between the communities along the rivers Severn and Wye—from Gloucester, Chepstow and the Forest down to Bristol. Trow crews had a terrible reputation as poachers, thieves and heavy drinkers'.
The mere mention of the name the Eagles, for most of us, evokes the strains of Hotel California and laidback '70s rock. But for a few listeners with long memories and an attraction to more exciting sounds, the mention of the Eagles calls to mind a Bristol beat quartet of the early '60s, and strangely soulful pop numbers like 'Some People' and catchy instrumentals with a unique guitar sound. A dozen years before Don Henley, Randy Meisner and company were first stepping out of Linda Ronstadt's shadow, there was a band in Knowle West using the same name, and getting lots of exposure with a brand of instrumental rock heavily influenced by the Shadows.
The group, from Knowle, changed their name from The Strollers to The Eagles. The Strollers/Eagles in 1962 were Rodney Meecham, 19, of Colchester Crescent; Terry Clark, 18, of Broadbury Road; John Payne, 18, of Wallingford Road; and Mike Brice, 18, of Bideford Crescent. The band first met up at Knowle youth club but turned professional—and into The Eagles—in 1962. They were featured on the soundtrack of the Kenneth More /Angela Douglas film Some People, which was filmed in Bristol, and were presented to the Duke of Edinburgh at the film's premiere.
The same year, they cut their first record, Bristol Express, backed with Johnny's tune from the film. They teamed up with Valerie Mountain — vocalist from the acclaimed Lockleaze Passion Play—to record the title song. Sadly, the only Eagles band that made it into the reference books were the American country / rock group.
Led by guitarist Terry Clarke, who used a homebuilt custom instrument, the group included drummer Rod Meacham, bassist Michael Brice, and Johnny Payne on rhythm guitar. Playing primarily instrumental rock, they began their career in Bristol playing local venues such as dance halls.
They were launched into the world of professional music in 1962 upon being noticed by composer Ron Grainer, probably best remembered for his theme to Doctor Who. Grainer was interested in The Eagles for a film project he was working on, Some People, about a fictional Bristol band not unlike themselves. The Eagles contributed to the Some People soundtrack, and became Grainer's protegees, recording new versions of some of his film score work like the theme of the Maigret television series. The Some People soundtrack reached #2 on the EP charts, and remained on the charts for a stay of 21 weeks.
The Eagles were awarded the Duke of Edinburgh Trophy for their work on the film, and soon after were signed to Pye Records, at the time among the top three labels in Britain. After releasing the singles 'Bristol Express' and 'Exodus', The Eagles embarked on a major tour of England along with more established acts Del Shannon, Stevie Wonder, Johnny Tillotson, and Dionne Warwick.
The tour world lasted much of 1963, during which their debut album, Smash Hits From The Eagles was released in the UK and the United States. The following year brought their most successful single and the one for which they are best remembered today, a vocal rendition of 'Wishin' And Hopin'' backed with 'Write Me A Letter'. Unfortunately, 1964 also brought a pair of tragedies which ultimately led to the end of the group: Grainer went blind, and Meachum suffered a nervous breakdown. Soon after, in late 1964, the band went their separate ways.
After The Eagles Clarke continued in the music business, with the band Pickettywitch and later as a session musician and solo artist, working with such artists as Michael Messer, Willie Nelson, Joe Ely, The Band, and Johnny Cash. He released nine solo albums between 1990 and 2006, on Transatlantic Records and various labels. Payne returned to Bristol and continued to play with local bands. The Eagles' music is available on many compilations of the era, and in 1998 Sanctuary Records released a massive 61-track two-disc +compilation set Smash Hits from The Eagles and The Kestrels, by far the most accessible overview of the Eagles' music today.
FILM: SOME PEOPLE 1962
U.K. film. Juvenile delinquent bikers form a beat group and sing and play cool Shadows-esque numbers. This color film provides an excellent window into 1962 British working class teenage culture. Beat music by Valerie Mountain and the Eagles (no, not the Hotel California Eagles). Highlight scenes include: motorcycle gang wearing tight jeans, black leather jackets, and white silk scarves and looking perfect! Teenage girl sits in bathtub wearing jeans to shrink them skin-tight. Coffee bars, youth clubs, roller rinks, clothes shopping, pubs, amusement parks and teddy boys.
Tons of beat group scenes showing the group forming, rehearsing and performing. This film captures what it must have been like pre-Beatles/Merseybeat boom when boys all over Britain were living in council estates (social housing projects), playing guitar and teetering on delinquency while playing in a group. Directed by Clive Donner (Here We Go Round the Mulberry Bush). Some nice Bristol location footage—including the BAC factory and the Clifton Suspension Bridge. Kenneth More, Ray Brooks, Angela Wilkes, David Hemmings, David Andrews, Angela Douglas, Fanny Carby, Harry H. Corbett, Richard Davis, Frankie Dymon, Valerie Mountain and the Eagles. Songs include: 'Some People,' 'Yes You Did' and several others. Note: There is about a minute of intermittent, low-volume audio distortion. Does not detract from film. Some People!
