Once again, all new to me. The re-use of a name happened herewith Quatermass being used for a group long after the rv show and films.
While you had not looked at superhero books for so long, I was steeped in them, including the stories from anthology weeklies.
But as I've said many times, I was also reading humour strips, Bash St Kids, Jonah, Perishers and so on.
Music. (1) By the late '50's there was the embryonic British pop and beat scene and on TV we could see and hear Don Lang and The Frantic Five, Vince Eager, Cuddly Dudley, Wee Willie Harris and in 1959, I heard Johnny Kidd And The Pirates for the first time - revelation. (2) After that, it was music, comics and later, girls. (3) Tamla, as it was called in Britain - Tamla Motown - was an eye opener also, at least the early stuff.
But all the while there was a plethora of American pop that I loved. Still do. (4) Johnny and The Hurricanes, The Ventures, Del Shannon, Jan and Dean.
(1) I'm surprised that I have never heard of ANY of those UK recording artists. We got mostly US records and singers, plus a few local Canadians, a few Aussies, and a few UK artists. Those from The UK that I remember were: Cliff Richard, The Shadows, Tommy Steele, Lonnie Donegan, Petula Clark, Marty Wilde, Adam Faith, and Billy Fury. Maybe records by those artists you mentioned above failed in The Canadian market, because they mainly sung covers and remakes of US artists' hits, and they had NO chance to chart, because our charts were so dominated by US artists, and the only room left was for a few Canadian artists?
(2) I stopped caring about all but Carl Barks comics at about 13 years old in late 1959, but continued to buy just those Disney comic books that contained Barks stories. I was much more into music, and, like you, and most of the rest of us, started to notice girls. I got back into comics a bit, in 1965, when I moved to California to attend university, and wandered into The Collectors' Book Store, in which Malcolm Willits was auctioning off most of Barks' unpublished original drawings, which I had photostated and photo printed, to use as masters to photocopy to add to photocopies of all Barks' published comic book pages, in a hardbound, chronologically arranged, "Carl Barks Collection". Willits introduced me to Barks. I visited him at his home several times, and corresponded by mail. He told me about the unpublished complete stories and unpublished drawn pages removed from stories before printing that still had not been found, and so, I tried to re-create them, drawing them in his style as best I could. That work, later used by Dutch Disney publisher, Oberon, was my ticket into art school/animation school, and the cartooning field, starting in the late 1970s.
(3) Motown first had Canadian REO Records distribute their recordings in Canada from 1959-61. Then, Canadian London Records in late 1961. Then Phonodisc of Canada issued them on Canadian Tamla Records from the start of 1962 through to the beginning of 1965, when the label name was changed to Tamla-Motown (with the same design as The UK, Holland, and all the Western European countries used. In 1974, Motown of Canada started, and ran until 1988. So, we had Tamla-Motown too. I remember Motown being distributed in The UK, by London, Fontana, Oriole, and Stateside, before Tamla-Motown started up in 1965.
I have all the US Motown and subsidiary 45s from 1959 through about 1972, plus most of the LPs. And I still have most of their Canadian releases from 1959-1965, plus many of their UK releases from 1960-67.
(4) I bought most of the Johnny and The Hurricanes', The Ventures', Del Shannon's, and Jan and Dean's hits, as well as those of The Beach Boys, Fantastic Baggies, Bruce & Terry, The Ripchords, The Sunrays, and other "Surf" groups. I bought some Rock-A-Billy music too, and a lot of American Blues records, and some of the Merseybeat group records (especially The 1962-64 Beatles, and The Searchers, and a couple Rolling Stones' records). But I didn't like The British Blues groups much. And I also bought lots of 1940s-1970s Jazz (Be-Bop, Cool Jazz, Avant Garde, and Latin Jazz, as well as American Folk, Delta, and Chicago Blues, and Black Gospel music. But, my main collection is US Rhythm & Blues 1940-1960, and US Soul music 1960-1973. I still supply rare records for remastering by London's Ace and Kent Records, for their high-quality CDs of US R&B/Blues/Soul/Gospel music, as well as editing and taking a last look at the blurbs on the CD information booklets, and providing label scans for them, when no good copies of those records are readily available from other sources. Sometimes I write sections of the CD booklets in the areas of my expertise (especially Detroit and Chicago R&B and Soul music). My collection is a resource for anyone who needs detailed esoteric historical information on the issues, record labels, recording studios, owners and company staff, musicians, etc. I had hoped to put my collection together with a couple of my Dutch friends' Black American Music collections, into a non-profit "African American Record Museum", but neither The Dutch nor Zuid Holland, nor Den Haag governments could afford to sanction, put any money towards establishing it, or give us an existing office/commercial space in a building. So, our plans went on hold. And on of the collectors has died, and his records were sold off.
