Pedals Worthy Of His Bike: He's Making Them

I first became serious about cycling as a teenager in the mid-1970s.  It seemed that every minute, I was learning about some brand of bicycle that wasn't Schwinn, Raleigh or Peugeot, and components--yes, I learned that most bicycles are made from components manufactured by other companies!  So, of course, I encountered all of the traditional European names like Weinmann, Mafac, Huret, Simplex--and, of course, Campagnolo.  Hey, Campy even made parts for high-performance race cars and NASA space vehicles!

Not long after, I would find out about Japanese makers of high-quality equipment like Sugino, Nitto and SunTour, whose derailleurs became my "go-to".  Nitto, Sugino and Campagnolo, of course, survive:  All except one of my Mercians is equipped with Nitto bars and/or stems, and Sugino cranksets.  Negrosa, my black 1973 Mercian Olympic, sports the same-year Campagnolo Nuovo Record gruppo (and Cinelli bars and stem) that came with it.

Sadly, the SunTour name lives only in mostly low-end suspension forks under the SR-SunTour brand.  Weinmann is a marque for mostly heavy and low-end rims made in China or Taiwan, and Mafac, Huret and other classic names are gone altogether.

Another name I encountered in my early cycling days is Chater-Lea.   By the time I learned about them, four decades ago, they were on the brink of extinction.  They would file for bankruptcy in 1987, and seemed to live on only in the memories of those of us old enough (in my case, just barely) to know about classic British bike parts.

Now, I have only seen a few Chater-Lea parts:  sturdy bottom brackets for those pencil-thin cottered cranks that found their way onto beautiful old English (and other) frames before cotterless chainsets (yes, that's what the English call them) took over the peloton and market--and, some beautifully-made pedals.  Their "rattrap" design was something like Lyotard's, but better, in materials, workmanship and aesthetics.

It seems, though, that Chater-Lea suffered the fate of Lyotard and other old-line bicycle component makers in the 1980s:  designs and market preferences changed, but companies like C-L and Lyotard didn't.  With the advent of mid-priced cotterless cranks and clipless pedals, the market for high-quality cottered bottom brackets and traditional cage or platform pedals all but disappeared.  In the meantime, companies that changed their designs and product lines, as often as not, shifted their production to low-wage countries. That is how nearly all of the British bicycle component (and a good part of the country's bicycle) industry, along with many of its counterparts in France and the rest of Europe, disappeared in the 1980s. 

Well, it seems that us old folks (OK! OK!) aren't the only ones who remember Chater-Lea.  Andy Richman, a Brit who lived and worked in Washington, DC, for a number of years, has returned to his native country to  resurrect the Chater-Lea name and oversee the design, manufacture and launch of its first product in more than three decades--and its first new product in more than half a century.  

Appropriately enough, it's a pedal.  But it's not any old crank appendage.  Even someone who's not a cycle enthusiast can see that it's made with better materials and more care--and purely and simply looks better--than your typical "rat trap", with all due respect to MKS (whose pedals I use).  The new Chater-Lea "Grand Tour" pedal is made from marine grade 316 and hardened 17-4PH stainless steel studded with polished brass rivets.  

Oh, and it's made in the UK--in Bristol, to be exact.  "This stuff needs to be made in the UK," says Richman.  It's "high-end, beautiful, artisanal," he explains.  "If jobs are going to come back to the UK, it's got to be for making this kind of stuff."

The new Chater-Lea Grand Tour pedal

Chater-Lea made "this kind of stuff" that was the class (along with BSA) of the bicycle component world.  Begun in 1890, it would branch out into motorcycle and car parts, and complete motorcycles and cars.  During World War II, it made parts for the Mosquito Fighter Bomber.  After the war, Chater-Lea returned to its bicycle roots and enjoyed prosperity during the 1950s but started to falter, along with many other companies in the British cycle industry, during the 1960s.  (Little did we know that all of those Raleigh and Dawes bikes we saw during the 1970s Bike Book were the shadows of companies that would "give up the ghost" a decade or two later!)  

Richman is himself a bike enthusiast who knew of the brand before his quest to revive it.  What motivated him, though, was a shopping trip in Brighton that took him to Condor, one of the premier bicycle shops in Britain.  There, he eyed a 1948 Condor frame and persuaded the shop's owner to sell it to him.  As Richman left the store, the owner remarked, "You do know there's really only one set of components worthy of going on this bike?  Chater-Lea."

Someone, I forget who, once said, "If I want to read a good book, I write one."  It seems that Richman knew that if he couldn't find "worthy" components, he'd have to make them.  And he's begun, with his Grand Tour pedal.

Cranking Up A Classic Marque

A little over a year ago, I recounted discovering--along with other novice American cyclists in the 1970s--bicycle and component marques known to generations of riders in other parts of the world.  

What I didn't realize was that some actually were, or would soon be, on the brink of extinction or being changed beyond recognition.  I am thinking of bikes like Falcon, Gitane and  Legnano, who made all sorts of machines from Tour de France winners to urban delivery conveyances--and companies like Nervar, Weinmann, Huret, Stronglight Simplex, Mafac and SunTour, who made the components for those bikes, and others.

Those manufacturers are gone now. (Weinmann-branded rims are made in China and the SunTour name lives on in SR-SunTour forks, which bear no relation, other than the name, to the revered maker of derailleurs and freewheels.)  So was Chater-Lea, a British company that made bicycles and even, for a couple of decades, cars and motorcycles.  But C-L is best known for what the English call "fittings":  parts like pedals, headsets and bottom brackets. They even made frame tubing and lugs.

Chater-Lea's quality was, in its heyday, second to none.  Custom frame builders specified C-L's parts; so did larger manufacturers for their best models.  I never owned or used any of their stuff, but I encountered some when I first worked in a bike shop.  A couple of my early riding companions--who pedaled through the "Dark Ages" when few American adults cycled--rode bikes equipped with C-L.

Those bikes were older than I was.  They sported those pencil-thin steel cottered cranksets (which may have been made by Chater-Lea) you see on old-time racing bikes and that fell out of favor once good-quality mid-priced cotterless cranks became available.  To my knowledge, C-L made bottom brackets only for cottered cranksets, and their pedals were of the traditional "rat trap" variety.  

So, while the stuff was of high quality, its designs were dated or even obsolete. (Clipless pedals all but killed the market for high-quality traditional pedals.)  That is why I was, if unknowingly, witnessing the "last gasp" of a once-revered name in the cycling world:  In 1987, they would cease after nearly a century of making bike parts.

Last year, Andy Richman, a British cycling enthusiast who lives in the US, decided to revive the brand with a ne plus ultra pedal that echoes the company's old designs but employs the highest-grade materials and finished flawlessly.  He said, at the time, that "if jobs are going to come back to the UK, it's got to be for making this kind of stuff."  In other words, "high end, beautiful, artisanal" items.

Now he is introducing a second Chater-Lea item.  Appropriately enough, it's a crankset.  But it's as much a departure from C-L's cottered sets as the pedals are a refinement of a traditional design:  The Grand Tour is a "sub-compact" crankset with 46/30 chainrings (a classic Randonneur/Gran Fondo configuration) designed to fit on JIS square taper axles and work with up to 11 speeds.

If you want to equip your bike with these items, save up your pounds:  You'll need 595 of them (about $775 at current exchange rates) to buy the cranks, and 250 ($325) for the pedals.  

Does Richman plan a complete Chater-Lea bike?

C-L: A Classic

 A few years ago, Andy Richman resurrected a classic name in British cycling:  Chater-Lea.  It had shuttered its factory and offices three decades earlier.  

From 1890 until its demise, the company made components and frame fittings that were, arguably, of superior quality to anything else made.  Indeed, when Richman persuaded the owner of Condor cycles to sell him a 1948 Condor frame, the owner remarked, "You do know there's only one set of components worthy of going on this bike? Chater-Lea."

That meant, among other things, that their stuff wasn't cheap. Lower-priced imports, along with the rise of the motorcar, helped to fuel the company's decline.  Also, as well-made as their products were, late in their history, they didn't keep up with changes in the cycling world.  For example, they never produced a cotterless chainset (what the Brits call a "crankset") or bottom bracket and clipless pedals would displace high-end traditional cage or platform pedals on the kinds of bikes that would have been adorned with Chater-Lea stuff.

But Ron Kitching, whose catalogues were eagerly awaited by cycling enthusiasts for decades, blamed the company's demise on another factor: By the 1960's Raleigh had achieved a near-monopoly on the British cycle industry, which allowed it to force down suppliers' prices and put many out of business.

I am glad Richman decided to resurrect a part of cycling history, albeit with somewhat updated designs and superior materials.  In keeping with one of the company's traditions, the new Chater-Lea parts have their own distinctive looks, just as the old stuff did.

Notice the "CL" embedded within the pattern.  It's kind of funny that people pay insane amounts of money to wear a designer's initials (or waste their money on knock-offs that begin to fall apart the moment they've paid for it).  But somehow I wouldn't mind bearing the monogram of Chater-Lea if I were riding a bike with its equipment.  

In 1962, It Was Superior

It was what Sheldon Brown called "the Dark Ages of American Cycling."  Or it was the "dark before the dawn" of the North American Bike Boom that began, depending on whom you ask, around 1969.

I am talking about 1962: 60 years ago. At the end of Bob Seger’s "Night Moves," the reminiscing narrator is "humming a song" from that year: the Ronette's "Be My Baby,” according to Seger. 

That year, Algeria won its independence--at least, in name--from France as Jamaica did from England.  A certain English band was playing at the Star-Club in Hamburg, West (yes, it was West) Germany. And--what I am about to reveal might cause some of you to never read this blog again--my favorite baseball team, the New York Mets, made their lovably, comically inept debut. (Their manager, Casey Stengel, lamented, "Can't anybody here play this game?")

And, although there were custom builders who made frames for the small but enthusiastic cycling communities of New York, Boston, Detroit, Chicago and a few other American locales, the name most Americans associated with quality bicycles was Schwinn.

Their company's top model, the Paramount, was built by hand in a separate area from the other bikes.  I have heard, from more than one source, that Schwinn actually lost money on Paramounts.  That sounds plausible:  Similar British, French and other European bikes with Reynolds tubing and Campagnolo components cost less (1962 Paramount price:  $175.00), mainly because the labor was less expensive.  Supposedly, Schwinn continued to build Paramounts because they were the official bike of the U.S. Olympic team and Arnold Schwinn saw equipping the riders who represented his country as an act of patriotism.  It also helped to support Schwinn's reputation as the only American bike-maker of that time with even a pretense of quality.

In 1962, Schwinn's second-line bike was the Superior.  Its frame was similar to the model of the same name Schwinn introduced in 1976:  chrome-molybdenum tubing filet-brazed without lugs into smooth joints and forged rear dropouts.  Both bikes also had Weinmann centerpull brakes (the cool engraved version on the 1962 bike) and rims with Schwinn-approved large-flange hubs made in France, probably by Normandy.

Oh, and I love the stem and handlebars--made for Schwinn by Gerry Burgess (GB) of England.  I can't get over that "lugged" sleeve on the handlebar:

 

 

Beyond those features, though, the 1960s and 1970s versions were very different. While both had Huret rear dropouts, the older version was equipped with the Huret Allvit derailleur:  standard touring gear of that time.  

The later Superiors came with Schwinn-branded Shimano or SunTour rear derailleurs--with, interestingly, Huret front derailleurs and shifters.  While the Shimano and SunTour mechanisms shifted much better in almost any condition, they seemed to have an almost unfair advantage on the 1970s bike, a ten-speed with the Nervar crankset that used the Specialites TA Pro Vis 5/Stronglight 49D bolt pattern and a wide-range rear freewheel.  On the other hand, the Allvit had to wrap up the yards and yards (OK, that's just a slight exaggeration) of chain necessitated by this:

The 1962 Superior certainly had 15 speeds--exotic for that time.  To achieve it, Schwinn used something I've seen maybe a couple of times in all of my years of cycling and working in bike shops:  a triple (with three chainrings)  Ashtabula (one-piece) crankset. Made from solid forged steel, it probably weighed as much as the frame!

To be fair, there weren't as many cotterless cranks, or triples,  available as there are now.  Schwinn used three-piece cottered cranks only on their early Paramounts.  Even the heaviest cottered cranks were lighter than any Ashtabula cranks, and some companies like Chater Lea, Stronglight and Duprat made cranks with pencil-thin arms.  But, once Stronglight and Campagnolo came out with durable alloy cotterless cranksets, cottered cranks disappeared from high-end road bikes (though they would continue to be used on the track until around 1960).  

Still, even in light of what I've just mentioned, that Ashtabula crank seems so incongruous with the rest of the bike.  But, for most Americans in 1962, the Superior would have seemed as other-worldly as a spaceship.

By the way:  the Superior cost $132 in 1962.  That model was made for only another year and, interestingly, the price dropped to $126.50.  From 1964 until 1970, the Super Sport--basically, a ten-speed version of the Superior--was Schwinn's #2 bike behind the Paramount.  In 1971, the Sports Tourer would knock the Super Sport to #3 and become the new Superior in 1976.

Oil And Mud

On Charles Street in Greenwich Village--just a couple of pedal strokes from the Hudson River and the Greenway that rims it--there's a shop that calls itself the "Downtown Upright Bike Shop."  I guess I'd prefer that to a Downright Uptown Bike Shop, and I'm sure I'd like it better than a Frowntown Uptight Shop.

In any event, Hub Cycles is an interesting place.  With its open front, entering it is rather like walking into a flea market.  It's somehow appropriate--among the rows of "Dutch style" and "city" bikes from Biria, Linus and like companies, one finds the unexpected, such as this:

The red bike behind the Biria has an unusual combination of design and construction:  It looks as if someone crossed an English three-speed from the 1930's with an American baloon-tired bike from built by, say, Schwinn or Columbia during the same era.

As you can see, it has the "camelback" design common on the old Schwinns.  The curved top tube connects the head tube with the seat tube cluster. On diamond-shaped bikes,the seat stays would connect the cluster to the rear drop outs or fork ends.  However, on this bike, a pair parallel tubes arcs from the downtube, across the seat tube and down to the dropouts.

What's really oee is that the top tube is joined by lugs while the curved twin tubes are spot-welded.  I guess there really is no other way to join them.  Still, I was a bit surprised to see such a construction method on a British bike.

The bike, as it turns out, was made by Dunelt, one of the best-known manufacturers of classic English three-speeds.  (It, like many other makers of such bikes, was acquired by Tube Investments--the parent company of Raleigh--during the 1950's.)  The head badge and chainring bearing the manufacturer's name were present, as was a faded transfer or decal on the seat tube.

Perhaps the most interesting aspect of the bike is this:

The hole on the bottom bracket shell is meant for an oiler.  If that sounds familiar, you probably have a classic Sturmey-Archer multigear hub--or, perhaps, some old BSA or Chater Lea pedals, hubs or headsets.  Those components--and the bottom bracket in the shell of this bike--were not made to be greased.  Instead, the oil--which had to be applied regularly--served as both lubricant and cleanser, helping to flush grit out of the mechanism.  

Such designs make a lot of sense when you realize that bikes like the one in the photo were made to be ridden on dusty country lanes that frequently turned to mud developed ruts big enough to have their own representation in Parliament.  People who rode such bikes often were far from the nearest bicycle shop and did not have specialized bicycle tools.  So, bikes and parts were designed to need "tear downs" as infrequently as possible.

Generations of people who used such bikes as their main means of transportation as well as for recreational riding were accustomed to the notion that their Sturmey-Archer hubs needed a teaspoon of oil every month or every time they rode in heavy rain or other harsh weather.  

Americans, on the other hand, got out of the habit of depending on their bikes--or of adults riding bicycles at all.  So what was common knowledge in Britain and the rest of Europe was forgotten.  That, I believe, is the reason why so many Yanks end up with otherwise-good three-speed bikes on which the gears don't work:  Necessary maintenance, minimal as it was, went by the wayside.  

The good news is that Sturmey-Archer three-speed hubs made before the mid-1970's or thereabouts can usually be resurrected if the inner parts haven't corroded or rusted together entirely.  The bad news is that fewer and fewer mechanics know how to service those classic parts.

Anyway, in a rather perverse irony, the bike I saw today was equipped with a new-production Sturmey-Archer hub that doesn't need to be oiled.  That, to me, was more offensive than seeing the other replacements and modifications--including the hammered fenders, which I actually like on the Dunelt.