A BUILDING ON THE CORNER of Lancaster Road and Basing Street, a few yards east of Portobello Road, looks as if it was once a church. Attached to its brickwork is a plaque commemorating the fact that the building was once used by the reggae artist Bob Marley (Robert Nester Marley:1945-1981). While we were looking at the building, a friendly passer-by stopped and chatted to us, confirming that the building had once been used as a church, but also as a waxworks studio and, maybe, a synagogue for a time.
Whereas many Jewish people used to live near the building before WW2 (www.rbkc.gov.uk/pdf/Colville%20March%20Newsletter3.pdf), notably in nearby Powis Square, I can find no evidence that there was ever a synagogue where the church-like building stands. A detailed map, surveyed in the 1890s, reveals that this building was a ‘Congregational Chapel’. It was ‘The Lancaster Road Congregational Church Notting Hill’ and is described in “A Book of Metropolitan Churches and Church Enterprise” by William Pepperell, which was published in 1872. The Reverend Pepperell describes the origin of the chapel as follows:
“The foundation-stone of this chapel was laid by Samuel Morley, Esq., M.P., in July, 1865, when, although so recent, the whole of that part of North Kensington in which it is situated was open field, with here and there a dotting of new buildings commenced, and new streets laid out. At the present time the occupied suburbs extend quite a mile beyond it either North or West. The congregation worshipping here first assembled in smaller numbers in Westbourne-hall, where they kept together for between two and three years, always with a view to a separate building as opportunity offered … The form of service is what is understood as Congregational, and the Congregational Hymn-book is used. An organ well suited to the dimensions of the building is efficiently employed by Mr. Charles Wetton, Jun., in aid of the devotional singing, which seems to lose nothing of its congregational life and character by the presence of the instrument.”
The authoritative British-history.ac.uk website confirms the date when the chapel was established and makes no mention of it ever having been used as a synagogue. It does state that the building was designed by James Rankin of St Marylebone and is now used for commercial purposes, its interior having been completely remodelled.
I could not find the chapel marked on a detailed map surveyed in 1914. This is not surprising because in the early part of the 20th century, the chapel became home to the workshop of Gems Waxworks (“Colville Conservation Area Appraisal”, published by RBKC in 2014). It was at this workshop that the model of the serial killer John Christie (1899-1953), who had a flat at 10 Rillington Place in Notting Hill (located at where is now Bartle Close and Andrews Square), was prepared (www.golbornelife.co.uk/colvillenewsletter1.pdf) in the 1950s for Madame Tussaud’s exhibition in Baker Street.
By 1970, the former chapel had reincarnated as the ‘Basing Street Studios”, established by Christopher Blackwell, founder of Island Records (began in 1959). In 1970, Led Zeppelin recorded his album “Led Zeppelin IV” at the studios. The same year, Jethro Tull recorded his “Aqualung” album at the same place. At one point in 1973, Bob Marley and the Wailers were using the studios at the same time as the Rolling Stones. Bob Marley lived for a year at the studios in 1977 (www.timeout.com/london/blog/15-places-in-london-with-a-bob-marley-connection-051116). Early in that year he recorded his album “Exodus” there. Before that, in 1973, he recorded his album “Catch a Fire”, also at Basing Street. In addition to the works already mentioned, many other well-known songs and albums, including Queen’s “We are the Champions” and Band Aid’s “Do they know It’s Christmas”, were recorded at these studios.
In 1983, Trevor Horn (born 1949) and Jill Sinclair (1952-2014), of SARM studios, acquired the recording establishment in the former chapel. The plaque on the outside of the building was placed there by the Nubian Jak Community Trust, which is:
“… an African and Caribbean community organisation that provides products and services to the generic population of the UK and internationally” (http://nubianjak.org/).
Their plaque not only celebrates Bob Marley’s use of the former chapel and his fellow musicians Bunny Wailer and Peter Tosh, but also the memory of Jill Sinclair. When the plaque was unveiled by her widowed husband, he said:
“… So much great music was made in the building while it was open for over 50 years as a recording studio. This plaque commemorates my late wife Jill Sinclair who was a long time supporter of the local Jamaican company. She would be happy to see the community being recognised for the music culture brought to the local area.” (https://tiemotalkofthetown.wordpress.com/2019/10/08/bob-marley-and-the-wailers-honoured-with-blue-plaque-at-legendary-sarm-studios/).
Currently, SARM is based on nearby Ladbroke Grove.
Having seen this building and looked into its history, I feel sure that the Congregationalists who used to sing in the chapel long ago would be pleased to know that the building remained a place of song, even if what was sung there is somewhat different to what they used to sing.