So sang John Miles back in 1976, and so it was for me. When in 1959 my sister and cousin went into Enfield town to buy me Little White Bull by Tommy Steele and came back with the theme from Rawhide by Frankie Laine, I threw, what my mum called, a "paddy". A full kicking and screaming tantrum. I'd seen Tommy the Toreador featuring the toothy erstwhile rock and roller, and I wanted that bloody song, not the whip crackiin' refrain of an old country singer who was Rollin', Rollin', Rollin' with gusto - even if I did follow the adventures of Gil Favor and Rowdy Yates on a weekly basis.
I'd graduated from Danny Kaye's Tubby the Tuba and the Archie Andrews story records. I was developing definite, if slightly skewed, musical tastes.
I mention all this because my latest literary projects are the Jack Callum Mysteries that begin in the1950's, and music plays a significant part in the narratives. You can read about them elsewhere on the site.
But back to me...
The Tornados/Joe Meek instrumental Telstar was my next remembered musical passion. Barry Hill (a childhood friend) liked to play in the bomb-damaged houses in our local area. In one house we came across a dilapidated upright piano. In true small-boy fashion I removed all the black keys and took them home, knowing I could make use of them later. And make use of them I did. I glued them to the lid of a long cardboard box that had once held my mum's bath salts and talcum power, and I had an electric organ. It didn't play of course - it was just pieces of wood glued to a cardboard box, but in my head I was Roger LaVern, the Tornados' organist, while Barry was Alan Caddy. their guitarist, and we'd mime `(is that the right word?) along to the record.
But enough about my childhood for the time being. I'll pick it up in the following links, starting with the pop group who I can honestly say changed my life, along with millions of others. but before we get to the fab four. I've mentioned the records that started me off, so here they are.
Written by the legendary Joe Meek and recorded at his "studio" above a handbag shop in Holloway Road. A worldwide smash but because of a spurious lawsuit Meek hardly received a penny for. I'm not sure how much the musicians made. Probably very little. Rhythm guitarist was George Bellamy, who son, Matt, is the front man and guitarist with Muse. I bet he gets paid.
It was October 1962 or 3 at the Granada Cinema in Edmonton, N. London. I was excited to see Heinz because he had been the bass plater with the Tornados. Live he was a little disappointing. He didn't play much bass and his songs were boring, one was all about playing his guitar 'just like Eddie.' I was ten years old and hadn't got a clue who Eddie Cochran was at that time, so the song fell a little flat. As did his stage show seemed to consist of him jumping onto his amplifier and jumping off again - not much of a feat when you consider that he was probably using a Vox AC 30 which was all of eighteen inches high.
Dee Dee Sharp, the Sundowners and the Caravelles didn't do it for me either. But then Johnny Kidd and the Pirates took the stage and treated us to a selection of their hits: I'll never Get Over You, Hungry For Love and the brilliant Shakin' All Over. And boy were they loud! I spent much of their set with my fingers plunged deep into my ten year old ears. My sister and her boyfriend seemed unimpressed. I had been foisted upon by my mother who insisted they take me with them to the concert. I'm sure now that I was cramping their style, but I was oblivious to their teenage-carnal desires. I had discovered Rock music.
When I was a teenager I learned to play guitar and, like Eric Callum in the Jack Callum Mysteries, I quickly became obsessed, moving quickly onto bass guitar and joining a band We reached the stage where we were gigging locally, but the at the age of nineteen I managed to get my girlfriend pregnant and by twenty I was married with a baby son to look after. As penance I was forced to sell my guitars and amplifier and quit the band. Seeking some kind of artistic outlet I started to write stories...and I've been doing it ever since. The music business's loss was the literary world's gain (don't argue at the back there). What follows are a few albums that inspired me then and have given me pleasure since. The pictures are links that will take you to Youtube where you can listen to the songs yourself. I'll start with the second album I ever bought. The classic Beatles long player that really changed the music world forever.
This was the first Doors album I ever bought. I remember being at school and copying down the lyrics to Not to Touch the Earth in my maths book and my teacher looking over my shoulder and nodding approvingly. I think he imagined I made them up myself. I didn't disillusion him. My love of the Doors bordered on the obsessional. I scrawled their logo on my school books, my pencil case, duffel bag and any flat surface I could find. I still have a certain fondness for this particular album. It's where my obsession began
This was an album I bought after hearing the track Tired of Waiting on an early CBS sampler Fill Your Head With Rock. And fill my head I did. It was a strange, almost unearthly mixture of jazz rock with soaring violins and on first listen it was just plain weird. The first side was also very short.That didn't matter. Nobody had heard of them and it fitted in with my need to be "a bit different" so I embraced it wholeheartedly. It was only when I turned the record over and saw the great lump of fluff on the stylus that I realised the diamond tip had skidded over the grooves, hence the otherworldliness of the Flock's sound. Fluff removed the album was fairly conventional, but I love it to this day.
And I was on my way. My first electric guitar and amplifier. "So you wanna be a Rock and Roll Star?" You bet...but why was I wearing a milkman's hat with brown tweed trousers and desert boots? I don't think I ever learned the meaning of cool.
Two years on and I was a fully paid up member of rock bands, Little Plumb, Sun God and Raven. All the same band but with very different names and playlists, ranging from 'fifties rock n' roll, through the pop hits of the day, and finally to self-penned rock songs with a hint of Prog. Someone told me my hair looked good swaying under the strobe lights on stage at a Southgate College gig, and you believe that kind of guff when you're seventeen.
Out of the band and a full-time husband. An yes, I was as hacked off as I looked. My first book was three years away. Enough said.
Was there such a beast as progressive rock before this album? Arguments can be made for some of the Beatles stuff, and maybe the Moody Blues. But this really was the daddy of it all. A group that included Robert Fripp, Greg Lake, and Ian MacDonald, all bringing their "A game" to make this album. Powerful and unique when it was first released it still exerts a strong influence over bands playing today. I heard it and was smitten. Still am. The original and best King Crimson Album.
I think it was with this album that we realised that Ian Anderson wasn't just some kind of wild-eyed eccentric who hopped about on one leg and played the flute. He was also a gifted and intelligent songwriter whose songs have lasted decades and who is still relevant today. Aqualung was followed by Thick as a Brick, which is probably my favourite Tull album, but the former still resonates today whereas TAAB requires a dedicated listen, and there's not always time to spare.
A great, but certainly not the best Genesis album, but it was my introduction to the band. I found I could identify with this incarnation whereas before I just regarded them as a group of public school tossers led by a front man who was so far up his own backside he was likely to disappear. Perhaps I was a Phil Collins fan at heart, but whatever the reason I bought the album, fell in love with it and went out to buy their entire back catalogue. I soon realised that I'd been labouring under a misconception. The earlier albums were great as well. And as for being a Phil Collins fan...well there's no shame in that.
Deep Purple had been around for a few years when I was playing in the band, but I didn't get to see them until 1972 when they were promoting this album. Everyone remembers Smoke On The Water, but I remember grooving along to Space Truckin' at a gig at the Rainbow and it was here that I got it together with the girl who would become my first wife. I still play the album to this day.
I did a lot of my courting to this record. I took the first track on the album, Love the One You're With, literally and by the time I got around to buying Stephen Stills 2, I was no longer courting, but married, had given up music and started writing horror stories. I think there's a message in there somewhere. Thanks, Steve.
For some reason the track, Do It Again, reminds me of the early days, writing with Mick and having intense editorial meetings at my in-law's house where I was living with my new family.
Mick and I would be exiled the the back room to have our, often fraught, meetings, arguing over a mis-placed comma or disputed plot point. There was a lot of storming out in a huff, or else there were deathly silences while we sulked until we got our own way.
The fact the Mick and I are still working together, while three wives have come and gone - Mick one, me two- says a lot about our friendship. I suppose we kept on doing it again...and again...and again.
Okay I admit it. I've always been a Carpenters fan. Going right back to Close To You when I was 18. I believe that Karen Carpenter had one of the finest, most beautiful voices of the twentieth century and Goodbye To Love from this album remains one of most heartbreaking songs of all time...and as for Tony Peluso's guitar break...well, what can I say? I was playing air guitar before the term was even invented
Do you remember the days when you would go round to a friend's house just to listen to a new album they had bought? That was the case with this record. I remember lying on the floor in a darkened room at Mick's, listening to the musical soundscapes four boys from Manchester dreamed up and recorded at Strawberry Studios in Stockport. As far as production was concerned 10cc were ahead of the game, and they opened my my mind to the possibilities of standing out from the crowd by trying something a little bit different. I'm not sure I succeeded, but they certainly did
I remember walking through a shop in Holborn and hearing Burning For You coming from the speaker behind the record counter and just stopping to listen to it. I was aware of BOC from Don't Fear the Reaper, but this was new and exciting. I bought the album and discovered such delights as After Dark, Joan Crawford and Don't Turn Your Back and also discovered how to combine dark subjects with a degree of tongue in cheek humour. I saw them in concert on numerous occasions, once, when I was in my fifties and feeling rather washed up, and there they were on stage, all older than me and still rocking out. It was inspirational.
I was invited in to SG1 radio in Stevenage to talk about horror and ghost stories.
Sweet "T" worked hard, creating an eerie soundscape to accompany the interview.
It was the first British meeting of the International Thiller writers. Among those attending were Leigh Russell at the front, next to Peter James, with Alex Shaw behind them. One thing to come out of the meeting was an anthology that we edited with Alex - Capital Crimes
Mick and I talking about our writing as part of the Letchwoth Festival
I was in full pontificating mood that night. I think Mick nodded off at one point. And who could blame him?
It's widely accepted that Anthony Phillips was the best musician in the original line up of Genesis when they formed at Charterhouse public school, but only made two albums with them before crippling stage fright made him leave the group.
I knew nothing of this when I won this record on coconut shy at a fun fair, so I was delighted when I got it home and played it and heard an album of brilliantly played 12 string guitar music with medieval overtones, and songs sung by Phil Collins. It beat a cuddly, fluffy duck any day.
By now you've probably guessed I'm something of a PhilCollins fan - not very fashionable I know. I think he's a fine musician, a very good singer and a pretty good songwriter to boot.
This album means a lot to me because it's about the break up of a marriage and, boy, can I identify with that having been in that dark place twice in my life.
Collins does not deserve the brickbats that have been aimed in his direction. He's not perfect, as his autobiography reveals but, give the man a break. He's only human and has given pleasure to millions. Thanks, Phil.
Lindisfarne were once called the new Beatles by some misguided - and slightly deranged members of the music press. They weren't and were never going to be. But who can forget the joyous singalong title track of this album. And if you watch the video, no, that's not Catwezle playing mandolin.
Won't Get Fooled Again remains one of my favourite air guitar and, als in my case, air-drum, track. I nearly met Keith Moon. He had parked his pink Roller a few streets away from where I lived and was just standing looking in a shop window. Dressed in a lilac leather suit, he looked almost approachable, and I was going to introduce myself. At least I thought I would until I saw the shop he was looking in sold fishing gear and Shotguns! I chickened out.
China Grove has to have one of the best intro's in rock. Slightly distorted guitar chopping out a pulsating riff that heralds in a full-blooded rock song. Unfortunately, Tom Johnson who wrote the song and played the searing riff, left the band was replaced my Michael McDonald - a soul singer for God's sake! They were hugely successful, but never sounded as good to me.
Once I had decided that I wasn't a natural six-string guitarist (i.e. lazy) I took up the bass and who should I look to for inspiration but the bass player of Yes - Chris Squire, probably one of the best bass player is rock until his premature demise from leukemia in 2015.
I set my sights high in those days. To my enduring regret I was only a little better on bass than I was on six string. I'm going to have, 'At least he tried' on my headstone.
I was never a fan of the Rockabilly revival that swept Britain in the 1980's. The Jets, Matchbox and band of that ilk left me cold. Some of the The Stray Cat's singles were tolerable and the Polecats' version of Bowie's John, I'm Only Dancing wasn't too bad. While mooching through the remainder box in my local record shop I came across a record by I band I'd never heard of. Who the hell were Beltane Fine? Well the track titles were intriguing. Captain Blood, King Arthur's Cave, Night Fishing, Run (Light the Beltane Fire) This could be a bit of "me" I thought. When I got it home I discovered it was a "white label" pressing. No details on it at all. When I slipped it it onto the turntable I was in for another shock. It was really like nothing I'd heard before, and yet there was a certain Rockabilly feel to it, and it was really rather good.
A year later I went to see Marillion on their Clutching at Straws tour at the Hammersmith Odeon, I only caught the last few songs of the support act but, bugger me, there they were in all their glory, Beltane Fire, and boy did they rock!.
Fast forward a few years and I was newly single and trying to impress my new girlfriend with my record collection.
She took one look at the picture on the cover and pointed to the band member on the far right and said, "I know him. That's Stef Edwards. I cut his hair, and that's his brother Carlo. I thought they were in the Blue Cats. In fact I'm sure that is the Blue Cats, a Rockabilly band. I thought you didn't like Rockabilly."
"I don't, but this is different."
"Barry Worman, Tim Polecat's dad manages them," she said. "I cut his hair as well."
I'll pause here for a quick explanation. Her ex was the drummer for the Polecats, and my new girlfriend was a Rockabilly fan. Despite this I went on to marry her. And I'm playing Beltane Fire as I write this, and I still love the album to this day. And yes, they were, and still are, the Blue Cats, still gigging, still rocking up a storm, still a favourite of all those disaffected Rockabilly fans. A few months ago they gave a concert under their Beltane Fire guise. Alas I couldn't make the gig, but I'm hoping they'll do more,
Click on the left image (the while label cover) for a track from the album, click on the right image (the official cover) for a link to Amazon to buy it.
Another entry for Steven Stills, this time with the band/supergroup Manassas. I saw them twice: once at the Rainbow and two weeks later at the Sundown in Edmonton. I was a couple of years away from publication and the music gene refused to die, so I bought an acoustic guitar and set out learning some songs from the album. I learned to play and sing the song Johnny's Garden. Kind of prophetic in a way as, some years later, my second marriage ended. We remain good friends and, ironically, she went on to marry a gardener called Jonnie.
I've started so I'll finish...for now. I'll be adding more as the memories come back to me. So I'll finish for now with John Miles. one of the UK's most under-valued and under-appreciated singer, songwriters and instrumentalists.
He first appeared on my radar back in '76 with his single Highfly, and I've followed his career ever since. Despite his lack of commercial success he has always delived quality music - great songs, brilliantly played and produced.
Tina Turner recognised his brilliance even when the record-buying public didn't and he was her MD for a number of her tours. One day I hope there will be a re-evaluation of John's contribution to British rock and pop. Meanwhile visit his page on Amazon and start trawling through some great music. Click here.
Looking back over this page it would appear that my musical tastes are firmly rooted in the years up to, and including the 1970's. Nothing could be further from the truth. 2019 sees me in the grip of a musical obsession as strong, if not stronger, than any in the past. Big Big Train have been issuing from my computer speakers non-stop While I've been editing, revising and publishing the Jack Callum Mysteries, building four different writing-related websites and catching up on correspondence.
They've been around since the early noughties but only started playing gigs four years ago, and its taken me until about a month ago to 'discover' them,
Formed by Greg Spawton and Andy Poole, they finally got the band chemistry right when they enlisted vocalist and multi-instrumentalist, David Longdon. Once he was on board, ex-XTC guitarist, keyboard and double bass player, Danny Manners, violinist Rachel Hall, Swedish guitarist and keyboard player Rikard Sjoblom, added their instruments to the mix. About the same time David Longdon joined, they acquired the immensely talented drummer Nick d'Virgillio, veteran of bands like Genesis and Spock's Beard, and once the touring drummer and orchestra leader of the Cirque du Soleil during their residency in the UK.
So that's more or less the history.
The music is impossible to pigeon-hole. Prog rock, definitely, but so much more. Longdon and Spawton are articulate and intelligent songwriters as well as being superlative musicians, and the subjects they write about range from Leonardo daVinci, to the Swan Hunter shipyard, taking in a pigeon, Winkie, recipient of the PDSA Dickin Medal, the animal equivalent of the Victoria Cross, and a musical biography of infamous art forger Tom Keating. A great deal of their music deals with the English countryside and its myths and legends, and is suitably pastoral in nature, and then they'll sock you between the eyes with some incredibly intricate and hard-rocking passages, with addictive hooks and some very catchy pop songs. Click on the picture to hear a live track from one of their London concerts a few years back. But explore the videos on YouTube.I think you'll be surprised at thee sheer breadth of the music they produce. I know I was.
Copyright © 2019 Len Maynard - All Rights Reserved.