Paul Kossoff & Black Cat Bones 1966-68

Stuart Brooks (bass guitar), Derek Brooks (rhythm guitar), Paul Tiller (lead vocals), Frank Perry (drums), Paul Kossoff (lead guitar). Colourised photograph, 1967.

Contents

Introduction
Chronology
Frank Perry reminiscences
Acknowledgements
References

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1. Introduction

When Paul Rogers mentioned that one of the reasons Andy Fraser left Free in May 1971 was because he (Rogers) and guitarist Paul Kossoff wanted to play more blues material, the present author thought this a strange comment. However, as will be seen from the information below, Rogers and Kossoff began their musical careers enmeshed in the London electric Chicago blues based scene developed and promoted by local musicians such as John Mayall and Alexis Korner and record producer Mike Vernon. Both their initial bands - Rogers' Brown Sugar and Kossoff's Black Cat Bones were copyists of Mayall and Korner, just as the early Yardbirds with Eric Clapton were during 1963-65 and Peter Green's Fleetwood Mac between 1967-71. With this in mind, Rogers' comment makes a lot of sense.....

Black Cat Bones was an English blues rock group that formed in London in the British summer of 1966 and went on to release an LP in 1969. The band is most famous for its early lead guitarist Paul Kossoff, who was a member for approximately 20 months through to February 1968. Kossoff was aged just 15 upon joining Black Cat Bones and 17 when he departed. Kossoff went on to achieve legendary status with the band Free and his own Back Street Crawler, before suffering an early death in 1976 due to the effects of drug use and perhaps congenital heart problems. Members of Black Cat Bones during the period in which Kossoff was involved included:

Derek Brooks, rhythm guitar
Stuart Brooks, bass guitar
Paul Kossoff, lead guitar
Terry Sims, drums
Frank Perry, drums
Simon Kirke, drums
Paul Tiller, vocals, harmonica

Various singers came and went as well, including Tiller. Some references have been made to Paul Rogers singing with the group, however no evidence for this has been found by the present author. Frank Perry, apart from being the band's drummer for a period, is notable for the fact not only that he has recorded reminiscences of his time in the band, but also, and most significantly, his father Frank E. Perry II recorded many of the Black Cat Bones rehearsal jams and a single Marquee Club gig. These now represent the only recordings of the early Paul Kossoff - a young guitarist who, in 1966-68 was very much a student and practitioner of the evolving British blues rock style made famous by guitarists such Clapton and Green.

Kossoff cites Peter Green as an early mentor, and there is the suggestion that he received some personal tuition off the guitarist who, in 1967 formed Fleetwood Mac after two stints with John Mayall's Bluesbreakers, replacing Eric Clapton. Of Kossoff's playing during his time with Black Cat Bones, Andy Blinstrub in a recent Paul Kossoff - The Legend Facebook group 21 August 2024 posting by Linda Crawford, commented:

I was a bit too young for Black Cat Bones or Free, but my musical mentor was a few years older than me and had seen both Black Cat Bones and Free, including at the Isle of Wight. His view on Koss was that he was brilliant in Black Cat Bones because he had a rhythm guitarist to fill the sound, allowing him to solo. In Free, as the only guitarist, the “sound fill” element took away from the solo virtuosity. In Eddie’s words, his playing was lost to a degree in Free because he had to play lots of chords....

Black Cat Bones, 1968. L. to r.: Stuart Brooks, Derek Brooks, Paul Teller, Paul Kossoff, Simon Kirke.

Simon Kirke, drummer for a brief period with Black Cat Bones from the end of 1967 through to February 1968, noted the following regarding Kossoff at the time:

Black Cat Bones was a pretty average band playing blues standards but the guitarist stood out. He was a little bloke standing on the far right of the stage with a mane of long hair and he was playing incredibly well. He wasn’t fast like Alvin Lee, more in the mould of Eric Clapton and Fleetwood Mac’s Peter Green. But I could tell he was the star of the show. He was, of course, Paul Kossoff.

Derek Brookes, rhythm guitarist with Black Cat Bones, noted the following:

When we first met Paul it was in this rehearsal room we had in Camden Town. He turned up with a Les Paul which was amazing, and when he played it was even more amazing. We couldn’t believe that no one had gotten hold of him. It could only have been because he was so young. Our thoughts were, well if he’s got a nice guitar then maybe he’s a serious musician. We were pleasantly surprised.

As noted by John McDermot in his notes for the 1993 Free CD compilation Molten Gold: The Anthology:

While scouting for a vocalist to front their new band, Kossoff and Kirke visited the Fickle Pickle, a R&B club in London’s Finsbury Park. It was here that the two first heard Paul Rogers, a young vocalist, then performing with Brown Sugar. Kossoff and Kirke were both immediately impressed with Rogers’ expressive voice and charismatic style, and recruited him for their group (Crawford 2024).

In a 2000 article for Vintage Guitar, Tom Guerra summarised Kossoff's time with Black Cat Bones as follows:

For a scant few years beginning in the mid 1960s, Great Britain was responsible for producing arguably the finest crop of rock guitarists ever. It began with Eric Clapton, who made rock and roll musicianship hip with John Mayall’s Bluesbreakers, then with Cream. The well-chronicled “Clapton is God” years must have truly motivated his peers, because shortly after, a crop of would-be heirs apparent was catching the public’s ears. Jeff Beck shook ’em up with his manic feedback and wonderful phrasing; Peter Green gained admiration for his supernatural blues playing; Mick Taylor excelled on electric slide; Jimmy Page’s composition and layering produced sounds never heard. And Paul Kossoff offered his mastery of the understated, along with his frighteningly expressive vibrato. Born in London on September 14, 1950, Kossoff studied classical guitar for six years, but had pretty much stopped playing by the time he was a teenager. In the winter of 1965, as the British blues revival was peaking, he saw Clapton with Mayall’s Bluesbreakers at The Refectory, in north London. That concert changed his life. From that moment, he wanted to play the same stinging electric blues Clapton played. He soon picked up a 1954 Gibson Les Paul Custom and became a serious music student, immersing himself in learning to play the blues. After leaving school, the young “Koss” went to work in Selmer’s Music shop in London. One day at Selmer’s he met Jimi Hendrix, who had recently [September 1966] come over from America with Animals bassist Chas Chandler. When Hendrix began playing an early version of “Little Wing” through store equipment, Kossoff was mesmerized. It was another defining moment for the impressionable youth. By 1967, Koss joined a band called Black Cat Bones (named after the mythological blues talisman). Several months later, the band recruited drummer Simon Kirke and the two struck up a friendship based on their mutual love of the blues. Despite being the year the world went psychedelic, Kossoff and Kirk were determined to develop a style steeped in basic blues. Soon, Black Cat Bones was a regular on the London pub circuit, quickly catching the eye of producer Mike Vernon, who recruited the band to back pianist Champion Jack Dupree on “When You Feel the Feeling.” Despite the exposure this brought, Kossoff and Kirke felt they had taken Black Cat Bones as far as it could go, and began looking for a new group. One night in The Fickle Pickle, another London pub, Kossoff heard a young vocalist with the band Brown Sugar. During a break, Koss asked if he could sit in for a number. The singer, Paul Rogers, agreed and the two jammed on several tunes including T-Bone Walker’s “Stormy Monday” and Memphis Slim’s “Everyday I Have the Blues.” Both Pauls later said they were instantly drawn to the others’ musicality. Following the set, Koss approached Rogers about joining his new group. Rogers agreed and along with Kirke they made plans to pursue their love of blues-based rock and roll. As Kossoff, Kirke, and Rogers began to rehearse, Vernon suggested (on a tip from British blues legend Alexis Korner) they check out bassist Andy Fraser. The group was impressed with the fact that Fraser had played with Mayall’s Bluesbreakers when he was only 15. Fraser soon joined and Korner christened the new quartet Free. Within a few months, the group had written and road tested several simple-but-effective rock songs that fit their lineup of guitar, drums, bass, and vocals. Playing a late-’50s flametop Les Paul Standard (later immortalized in Tony Bacon and Paul Day’s The Les Paul) through a block-logo Marshall and a homemade cabinet, Kossoff began to find his voice. To facilitate his aggressive attack, Kossoff utilized heavy picks and heavy strings, and developed the slow and quick vibrato that would one day become his trademark. In describing his technique to the English press, Koss said, “I think my vibrato has taken a long time to sound mature, and it has taken a long time to reach the speed I now have. I use my index to back up the ring finger when I’m using vibrato.”

By the time Kossoff began recording with Free during the second half of 1968 his playing had shifted from extended leads in electric Chicago blues-based jams into a more melodic, pop-based style interpreting the song writing of Paul Rogers and Andy Fraser and filling out the band's sound as both lead and rhythm guitarist. Therein he refined his searing tremolo / vibrato technique to present an emotive tone which has never been surpassed.

As noted above, Kossoff's playing with Black Cat Bones was different from that with his later two bands. It was very much in the style of the Eric Clapton period Bluesbreakers and Peter Green's Fleetwood Mac, in a pre-psychedelic mode which was distinctive of the Sixties British era. Many of the Black Cat Bone jams sound like Eric Clapton or Peter Green at the helm, driving 9 and 10 minute forays in electric blues guitar experiments, with the inevitable Gibson Les Paul and a Marshall amplifier and speaker stack. That equipment combination was standard fare for the day, with Jeff Beck, Eric Clapton and Peter Green using that setup during 1966-7 for example in their bands The Yardbirds, Bluesbreakers and Fleetwood Mac. Kossoff was slightly younger than those players, but his playing was on par with them in Black Cat Bones and Free.

As a long time fan of Free, going back to the 1970s, the present writer was amazed when he first heard the Black Cat Bones recordings in July 2024, and Kossoff extending his guitar playing over long, instrumental, bluesy jams in rehearsals and the live Marquee gig. This young man was truly an amazing guitarist, and his early death a terrible loss. Kossoff apparently doubted his own unique talent as a guitarist as time went on. However, it has been proven otherwise and he is widely accepted as one of the most important from that era, standing alongside greats such as Hendrix, Clapton, Green, Beck and Page in the blues rock field.

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2. Chronology

The following chronology brings together known historical facts and recording information relating to Black Cat Bones and Paul Kossoff's association with the band. All of the following live recordings, apart from the 1968 Champion Jack Dupree studio recordings, was made by Frank Perry II, father of the similarly named drummer.

1966

* circa July 1966 - A 15 year old Paul Kossoff joins Black Cat Bones. He begins rehearsing in the band's space in Camden Town. He initially uses his various Gibson guitars, a Marshall amp and home-made speaker cabinet. From May 1966 to March 1967 he owned a 1955 black Gibson Les Paul Custom with twin P90 pickups.

1967

* circa March 1967 - Kossoff trades his guitar in at Selmers for a 1957 black Gibson Les Paul Custom with three pickups. Eric Clapton gets his old 1955 guitar around this time.

* mid 1967 - Kossoff swaps his 1957 Les Paul Custom with Kenny King for a sunburst 1960 Gibson Les Paul Standard.

* 2 July 1967 - Eel Pie Island Hotel, Twickenham, England.

* 6 August 1967 - Eel Pie Island Hotel, Twickenham, England.

* 11 November 1967 - Blues Night, Marquee, London. Supporting: Ten Years After.

* 24 November 1967 - Blues Night, Marquee, London. Supporting: Peter Green's Fleetwood Mac. 8-11.30pm.

* 18 December 1967 - The Blue Horizon, Nag's Head, Battersea, London. Supporting: Boilerhouse.

* 31 December 1967 - New Year's Eve Rave, Marquee, London. Supporting: Marmalade, The Nite People.

* Paul Kossoff & Black Cat Bones, 1967, 2 CD, Sunbeam Records, 2008. YouTube, 16 December 2010. Recorded by Frank E. Perry II at rehearsals in Tottenham Court Road, London, during 1967. Participants include: Paul Tiller - vocals / harmonica; Paul Kossoff - lead guitar; Derek Brooks - rhythm guitar; Stuart Brooks - bass guitar; Frank Perry - drums; + (?)Paul Rogers (vocals) on I'm Ready. Includes the following tracks:

1-1 Rock Me Baby (Version 1)
1-2 San Ho-Zay
1-3 Bad Blood (Instrumental)
1-4 The Sky Is Cryin'
1-5 Help Me (Version 1)
1-6 Messin' With The Kid
1-7 Rock Me Baby (Version 2)
2-1 Rock Me Baby (Version 3)
2-2 Bad Blood (Vocal Version 1)
2-3 Ooh Baby, Hold Me
2-4 Shake Your Moneymaker
2-5 Help Me (Version 2)
2-6 I'm Ready
2-7 Bad Blood (Vocal Version 2)
2-8 Paul's Blues

1968

* 26 January 1968 - Juniper Blossom, Cambridge.

* 12 January 1968 - Marquee, London. Artists: Aynsley Dunbar, Retaliation, Black Cat Bones.

* Black Cat Bones, The Marquee, London, ?12 January 1968. YouTube, duration: 77.31 minutes. Band members included: Paul Kossoff - lead guitar, Frank Perry or Simon Kirke - drums, Paul Tiller - vocals, harmonica, Stuart Brooks - bass, Derek Brooks - guitar. The quality of the recording is low, though the most prominent instrument heard is Kossoff's guitar, followed by the drums.

Tracks:

1. I want to know
2. Full-time Lover
3. Killing Floor
4. I ain't superstitious 4.18
5. Rock Me Baby 7.24
6. Don't start me talkin'
7. The Hunter
8. I got a mind to give up living
9. Train time
10. You don't have to go. Other tracks available include:
11. I Want to Right 4.20
12. For Cry Love 7.59
13. Unknown title #1 6.31
14. Unknown title #2 5.18
15. Unknown title #3 4.37

* February 1968 - Paul Kossoff and Simon Kirke leave the Black Cat Bones during this month and began looking for additional members to form a new band. A number of gigs during February - March 1968 are listed below as the two may have appeared with the band and backing Champion Jack Dupree whilst replacements were sought.

* 9 February 1968 - Marquee, London. Artists: Eddie Boyd, The Black Cat Bones, Jethro Tull.* 12 February 1968 - Zodiac Club, Star Hotel, Croydon, England.

* 19 February 1968 - The Blue Horizon, Nag's Head Hotel, Battersea, London.

* 24 February 1868 - Westminster Technical College, London. Supporting: The Shevelles.

* March - April 1968 - At the suggestion of Mike Vernon, owner of the Blue Horizon blues record label, Kossoff, Kirke and Stuart Brooks backed veteran blues pianist Champion Jack Dupree on his 1968 album When You Feel the Feeling You Was Feeling, and played on his concurrent UK tour (Wikipedia). The precise dates Kossoff and Kirke backed Dupree during March-May 1968 are unknown, though possible dates are listed below, as is the recording date.

* 4 March 1968 - Campion Jack Dupree and Black Cat Bones, The Blue Horizon, Nag's Head, Battersea, London.

* 6 March 1968 - Kossoff and Kirke see Paul Rogers in Brown Sugar, a Chicago blues band, at the Fickle Pickle Chicago Blues Club, London. Kossoff subsequently jams with Rogers. According to Linda Crawford, this legendary meeting may have taken place on this date (Crawford 2024).

Melody Maker, March 1968.

* 9 March 1968 - The Egham Club. It is likely that by this time Kossoff and Kirke had left the band.

* 11 March 1968 - 100 Club, London. It is likely that by this time Kossoff and Kirke had left the band.

* 16 March 1968 - Champion Jack Dupree, Regent Street Polytechnic, London.

Marquee Club, London, March-April 1968. L. to r.: Stuart Brooks, Frank Perry, Paul Kossoff and Champion Jack Dupree.

* circa April 1968 - Kossoff returns the 1960 'Burst to its owner Kenny King and gets his 1957 black Les Paul Custom back. He will use this guitar with Free until April 1969 when he obtains a 1959 'Burst. The Les Paul Custom is later swapped with Eric Clapton in July 1969 for a 1958 'Burst.

* 5 April 1968 - Champion Jack Dupree, Middle Earth, London.

* 5 April 1968 - Champion Jack Dupree, Nag's Head Hotel, Battersea, London.

* 10 April 1968 - Champion Jack Dupree, Toby Jug, Kingston Upon Thames.

* 19 April 1968 - First rehearsal and performance of the band Free at Nags Head Hotel, Battersea, London.

* 21 April 1968 - Champion Jack Dupree, Middle Earth, London.

* 22 April 1968 - Recording takes place at CBS Studios, London, of the Champion Jack Dupree album When You Feel the Feeling You Was Feeling.

Musicians included: Champion Jack Dupree - piano and vocal, Duster Bennett - harmonica, Paul Kossoff - guitar, Simon Kirke - drums and Stuart Brooks - bass. Tracks which included Kossoff and Kirk and Brooks from Black Cat Bones included:

Income Tax 4.50
Roll On 4.15
A Racehorse Called Mae 2.40
My Home's In Hell 4.55

* 1 May 1968 - Free, Rambling Jack's Club, The Railway Hotel, Bishop's Stortford.

* 6 May 1968 - Champion Jack Dupree, Nag's Head Hotel, Battersea, London.

* 9 May 1968 - Champion Jack Dupree, 100 Club, London.

* 15 May 1968 - Free, Rambling Jack's Club, The Railway Hotel, Bishop's Stortford.

* 17 May 1968 - Free, Middle Earth, Covent Garden, London.

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3. Frank Perry reminiscences

Frank Perry (b.1948) was the drummer with Black Cat Bones from the summer of 1966 through to late 1967 when he was asked to leave by the Brooks brothers and was replaced by Simon Kirke. Perry had wearied of the blue rock was seeking to go down the jazz route in developing his playing. He was a relatively close friend of Kossoff during his 18 months with the band - as revealed in his 2023 interview (see below) and when Kossoff sought to get a new band together in 1968 the person he came to initially as his preferred drummer was Perry. The latter turned it down as he was then about to join up with a modernist jazz group. Kossoff stayed with Kirke and continued looking for other players.

Recollections of Paul Kossoff

Frank Perry, March 1996

I began playing drums in the spring of 1964. I am completely self-taught. The sum-total of my tuition comes from about 10 minutes with another boy at school in my class and then a further 5 minutes with the guy who was teaching him. Tim Harris was the latter's name and he went on to play drums with The Foundations. At the time he showed me the basic jazz technique of hand independence. After a few months I'd bought a kit and was allowed to practise for half an hour a day. I then joined a rhythm and blues band which I called Abstract Sound. Somehow, I don't remember exactly how, the band broke up. I then answered an advertisement for a drummer for the Chicago blues band Black Cat Bones. The departing drummer was a close friend of Paul Kossoff's and he was present at the auditions. He chose and recommended me for the band most probably for my technical facility. I believe that this put me on a good footing with Paul who accordingly appreciated and respected my playing. We seemed to spark each other off - in a creative sense!

From my jazz technique I was strongly into syncopation and my style was what I'd call a 'driving' style i.e. I'd push the musicians towards stretching the limits of their playing. In other words, I did not play in a 'laid back' way - leaning on the beat - but more forwards to the next beat in anticipation. I also had a very strongly emotional approach. This, I feel, was reciprocated by Paul. In rehearsals each number lasted a long time with Paul taking any number of choruses for his solos. We seldom, if ever, looked at each other whilst playing. For a start, I had my eyes shut for most of the time, and with my head down. The standard style of playing at the time was definitely 'beat' music and from this perspective I was far too busy and non-conformist. Actually, my attitude was to PLAY and have fun. I wasn't even conscious for some 15 years afterwards, even of the idea of imitating black blues bands. I realised all those years afterwards that the purpose of meeting at the Brookes' house to listen to records was most probably in the hope that I'd get the message. However, I never ever had any word of this from Paul. I think that Paul was something of a kindred spirit in this approach and I certainly felt closest to him in the band.

I would often talk to him in some despair at the small list of numbers that the band had in its repertoire. We'd been playing them for so long that I felt they were like mini-operas. I could play them in my sleep. He empathised but our view was in the minority. I remember going into a record shop with him on our way to the Brookes house in High Barnet to check out the latest Jimi Hendrix release. The rest of the band were blues purists. Of course, the freedom which Hendrix and Mitch Mitchell were enjoying appealed to both of us - perhaps that's why he called his next band Free?

We played with a few Black artists. Champion Jack Dupree was one of these. He was great fun to play with and to be with. I recall a gig in Cambridge where in the interval Paul and I were mingling with the crowd and this lovely-looking girl approached us both. I declined but Paul was definitely into it and was planning to return to Cambridge on his own. Later I asked him how it went and he seemed quietly satisfied! I remember thinking that he certainly had energy to put into that thing! Actually, he'd also dated my younger sister Sandra for some time too. My mother had knitted/crocheted me a woolly hat and Paul wanted one also. So, she made him one of his own in a russet colour which he wore at that time. He often used to pick me up in his mother's car for rehearsals and gigs. I believe that it was on such a journey to Cambridge that I noticed him doing strange things with his hands. It turned out to be finger exercises which he happily showed me how to do. He was quiet and we talked little and yet, I didn't feel distant from him - he was a warm-natured person. But I think that he was also very bright and quick-witted, discriminating and discerning. He wasn't a fool. He also seemed a fairly good judge of character. I think that all this meant a heightened awareness of suffering through his increased sensitivity. Drugs, alcohol and smoking are ways of reducing this emotional burden. When I knew him he only slightly indulged in the latter. He was always friendly and never moody.

Like me, Music came first with him. I wasn't aware of any 'ego' problems with Paul. He just did his thing with quiet confidence. He neither sought the limelight nor avoided it. The MUSIC was the thing! In fact, I'd almost say that he was very 'studious'. Talking in the band consisted mostly of what you'd expect from rehearsals. Outside of that, I don't recall very much happening on the communication front at all myself. We all just got on with 'the business'. I think that we all considered ourselves to be 'real' musicians. As a result the 'glamour' antics of the popular music industry wasn't part of our performance style. Apart from Paul's facial expressions, the band was undemonstrable.

Considering his powerful father, he didn't seem to me to have any problems in that direction either. That's not to say that David Kossoff went throwing his weight around. Far from it. I recall him dropping in on a rehearsal with a large box of 'Coca-Cola's' and I never even noticed him entering, although I did feel a change in the atmosphere of the room. But he definitely put everyone at their ease and was just one of the other fathers there showing an interest in their son's activities. NB: The Brookes' father was always there alongside my father - who recorded the rehearsals for his own pleasure.

In short, Paul was 'natural'. He knew what he wanted to do and he was doing it. Simple as that! He didn't seem to be out to impress anybody. He just did what he loved. He played his guitar with love and unselfconsciously. He was never a 'poser', but a genuine guy with real humanity and a good friend. He wasn't overly serious, he was capable of fun but not at the expense of anyone else. There was definitely an air of 'cheekiness' or 'puckishness' about him that was also part of his makeup. But, over-all, I'd say that he was a warm-hearted, lovable, and likeable fellow, and a bit of a rogue.

Like myself, he didn't seem to have a big voice in the band. Politics weren't his style nor mine. He just wanted to PLAY. I think that he enjoyed the band and believed in it. He was a great guitarist and if he'd ever left the band I would have gone too. Without him the band would have been nothing to me. We shared in the creative Fire. As I said, we sparked each other off!...

I'd say we got into the Blues because it had more meaning. It was to do with feelings. We were somewhat disillusioned with the prevalent materialism and intellectualism. The Blues was a 'back to basics'. It was more to do with a feeling of sharing the human condition and caring for each other. The 'rat race' was left behind in exchange for better values...

Well, February 1968 saw the band asking me to leave because I couldn't pare my drumming down enough to what they wanted. I think this might have been to do with Mike Vernon (a manager) who probably saw the band benefitting from the Blues boom (happening then) if one or two changes could be made. Paul came around to see me and I told him that he'd be the next. This is because of the singer Paul Tiller who was jealous of anyone stealing his thunder. He'd (Tiller) asked me to cut back on my drumming during the number "Rock Me Baby" (where I was using polyrhythms) during his harmonica solo, and he was always on at Paul to cut down his playing too. Well, three months later Paul had left of his own accord and came around to visit me again and asked me to form the band that became FREE with him but I declined as I'd already chosen to go into jazz at that time. After all, that was where my technical facility lay and I'd had enough of all the amplifiers and ego scene - there was no amplification for drummers then.

So I knew Paul from the summer of 1966 until February of 1968. I have only positive memories of Paul as no negativity of any kind ever passed between us. He was one of the finest musicians that I've ever worked with, and I've played with the very best!

Frank Perry Interview 2023 transcript

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4. Acknowledgements

Complied with the assistance of Linda Crawford and research by David Clayton, Todd K. Smith, Allesandro Borri, and other fans of Free.

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5. References

Bacon, Tony, Legendary Guitars: An Illustrated Guide, Chartwell Books, New York, 2018, 288p.

Bitoun, Julien, Guitars & Heroes: Mythic Guitars and Legendary Musicians, Firefly Books, New York 2018, 240p.

Clayton David, Free Appreciation Society [blog], 2011.

----- and Todd K. Smith, Heavy Load: The Story of Free, Moonshine Publishing, 2003, 300p.

Crawford, Linda, Paul Kossoff - The Legend [website], Facebook, accessed 18 August 2024.

Frank Perry interview - Paul Kossoff and Black Cat Bones, Velo Fan, 27 February 2023, YouTube, duration: 46.56 minutes.

Guerra, Tom, The Story of the Back Street Crawler, Vintage Guitar, May 2000.

James, J.P., Paul Kossoff : All Right Now - The Guitars, The Gear, The Music, Troubadour Publishing, 2017, 424p.

Kopilovic, Dan, Paul Kossoff's Guitars and Gear, Groundguitar [website], 2 October 2022.

McDermot, John, Molten Gold Anthology, CDs, 1993.

Perry, Frank, A Tribute to Paul Kossoff, Free Appreciation Society, 67, March 1996. Copy at Internet Archive.

setlist.fm - The setlist wiki [online database], accessed 20 August 2024.

World Radio History [website], accessed 21 August 2024.

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* Paul Kossoff & Black Cat Bones, 1967. YouTube, 16 December 2010, duration: 9.48 minutes. Live rehearsal recording.

Last updated: 21 August 2024

Michael Organ, Australia.

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