Ian Dury was as much a visual as verbal stylist.

The late performer’s wordsmithery comes into focus in daughter Jemima’s soon-to-be-released book ‘Hallo Sausages’, which also conveys his rich and idiosyncratic sartorial presence.

Published by Bloomsbury on October 28, ‘Hallo Sausages’ presents lyrics to 170 of Dury’s songs, some scribbled and heavily anotated, others meticulously typed and displayed to best effect in the book design by another member of Dury’s extended family, Jake Tilson (brother of Dury’s widow Sophy; their father is the eminent British artist Joe Tilson).

Making a merit of the archival jumble Dury left behind on his death in 2000 (a bunch of lyrics were found in a carrier bag bearing Barney Bubbles’ familiar Blockhead logo), this is a lovingly put-together document, the songs and Jemima Dury’s reminiscences adorned by a bank of rare, personal and professionally-taken images.

To celebrate the publication of ‘Hallo Sausages’, here’s a selection of key items from Jemima’s Dad’s wardrobe with some background material sourced from my recent book about one-time Kilburn & The High Roads manager Tommy Roberts. Jemima has also contributed a couple of images from her own archive.

Meanwhile, at the end of this post, there’s an opportunity to win a signed copy of ‘Hallo Sausages’.

Pearly King jacket

Rooted as he was in London lore, Dury added this authentic Pearly King jacket to his stage ensemble in the late 70s. According to Sophy Dury, he later found out it had belonged to an Eastender named John Snow (hence “JS Of Mile End” on the back). Snow’s mother had loaned the jacket to her friend Mrs. E. Rainbird, who wore it on VE Níght.
In a 1985 letter to the BBC radio broadcaster Libby Purves (who interviewed Dury that year) Mrs Rainbird wrote that she recognised the jacket from his TV appearances. Purves complied with her request to pass the letter outlining the provenance to Dury, who put it in one of the jacket pockets, where it remains.

Billy Bentley gown

Taking it’s cue from the character in the song Billy Bentley Promenades Himself In London (the B-side of Kilburn & The High Roads’ November 1974 single Rough Kids), this robe was commissioned by Kilburns manager Tommy Roberts from Malcolm McLaren and Vivienne Westwood’s King’s Road shop Sex.

“At that time the look of music and the sound of fashion in London was represented by Kilburn & The High Roads,” said McLaren in 2009. Tommy Roberts adds: “The gown was beautifully made; I remember thinking Malcolm really excelled himself there.”

Let It Rock feather tie

Dury’s association with McLaren’s shop at 430 King’s Road extended back to the Let It Rock phase, when the range was augmented by extraordinary neckwear made from gaudy bird feathers – Dury wore one for the photoshoot which resulted in the image on the cover of breakthrough single Sex & Drugs & Rock & Roll.

His association with McLaren ran deep. In summer 1975 after Kilburn & The High Roads broke up, McLaren had made an approach to manage Dury as a solo artist, revealed in a letter from the performer to his New York friend, photographer Roberta Bayley (as noted by Dury’s biographer Will Birch): “Malcolm’s back in London and did I want to see him about management? I said I’d love to see him, but certainly not about management or boxer’s robes.”

White silk scarf

Scarves were a fixture of Dury’s personal presentation, and the white silk scarf a particular favourite, always tied with what he called “the London Knot”. Says Jemima Dury: “I can never remember how to do it, so Soph always sorts it out if we’re going somewhere.”

Striped jumper

The striped jumper added a piratical feel to Dury’s onstage ensemble, particularly when worn with a single earring, greased locks and mascara, as captured by Anton Corbjin in the late 70s.

Razor blade earring

Dury’s stylistic influence over the visual aspects of punk crystallised in the silver razor blade worn as an earring. It was one of a pair created by Kilburns tour manager Martin “Smart Mart” Cole in 1975. “I made one for me and one for Ian,” says Cole. “The sides were sharp so looked dangerous as they swung close to the jugular. Ian loved his.”

++++++++++WIN A COPY OF HALLO SAUSAGES ++++++++++

Jemima has signed a copy of ‘Hallo Sausages’ which is up for grabs to readers of this blog – send me your answer to the question below and the first correct one picked out of the fez on October 21 wins.

Q: The ‘Hallo Sausages’ CD features Dury in conversation with Vinyl Mogul, his music business entrepreneur friend whose achievements include co- founding Stiff Records. By what name is Vinyl Mogul best known?

Send your answer to: paul@paulgormanis.com

The signed book is eligible to UK-based readers only, but there are copies of my new map The Look Of London – which references Kilburn & The High Roads’ performance at Biba – available to the two runners-up from any location.

Tags: 'Hallo Sausages', Anton Corbjin, Bloomsbury, Chris Killip, Colin Thomas, David Corio, Humphrey Ocean, Ian Dury, Jake Tilson, Jemima Dury, Joe Tilson, Kilburn & The High Roads, Let It Rock, Malcolm McLaren, Martin Cole, Roberta Bayley, SEX, Sex & Drugs & Rock & Roll, Sophy Tilson, Vinyl Mogul, Will Birch