麻豆约拍

Born of austerity and a love of American folk, skiffle was basic, direct and thrillingly raw. A kind of "make do and mend" pop.

But then this was a make do and mend time. Post-war Britain was a drab, bankrupt and almost broken country. Cities were still littered with bomb sites and rationing was still in place until 1954.

But teenagers were discovering new music in the nation's coffee houses via the wondrous technology of jukeboxes and freshly imported records. And one record in particular resonated with the UK's youth: Leadbelly's Rock Island Line.

Not everyone was so impressed though. Trad jazz was also enjoying a boom, and that scene's movers sneered at this rough 鈥榥 ready music. This was somewhat ironic given that Lonnie Donegan had first found fame in Chris Barber's jazz band. And Chris Barber himself would also be a pivotal figure in the British blues boom, bringing people like Big Bill Broonzy and Muddy Waters to tour the UK.

The musicians who emerged from the skiffle scene read like a virtual who's who of British pop music: Cliff Richard, Martin Carthy, Mark Knopfler, Mickie Most, Jimmy Page and Lennon and McCartney all found inspiration and nominal success in this new scene.