They Might be Giants – Manchester Academy 2

High Five: They Might Be Giants, disappointing folk all over, apparently (Photo: http://www.theymightbegiants.com/)

High Five: They Might Be Giants, disappointing folk all over, apparently (Photo: http://www.theymightbegiants.com/)

Ever tried explaining They Might Be Giants to anyone not in the know? I have, and strongly advise that you shouldn’t bother. Just give people links to a few tracks and let them work it out for themselves.

I’m guessing all those packed into Manchester Academy 2 on Monday night got this wondrous band though, and this was something of a celebration for our returning, conquering heroes.

These days TMBG involve Brooklyn-based founding Johns – Flansburgh (guitar, vocals) and Linnell (keyboards, vocals, all sorts) – plus Marty Beller (drums), Dan Miller (guitar, keys) and Danny Weinkauf (bass, keys). Yet this might well have been our last UK sighting for at least a while, with a live break after their current UK and following US tours imminent.

The key word should still be celebration rather than disappointment though, not least for those of us who have seen this long-established, inventive, alternative outfit in person. It turns out that there was no get-out clause at Manchester’s Academy 2 anyway, with Flansy pointing out that they had a lot of material to get through, the doors were locked, and there would be ‘no refunds’. Extreme housekeeping notices, I think you’d call those.

They started as they meant to go on, a stratospheric The Statue Got Me High one of many ‘near-hits’ here, leading to a similarly-airborne Can’t Keep Johnny Down, the two Johns – whose banter all night was special, the in-between songs sections as entertaining as the tunes themselves – revealing by way of a further introduction that they played the same venue 24 years ago to the day, Flansy explaining how he felt it was an impossibly-large place to fill back then (while admitting to maybe putting on ‘7lb’ since).

There were no gaps that I could spot on the night, but while much has changed in the intervening years, it’s fair to say TMBG remain vital, as shown on a brooding Musical Jail Pts. 1 & 2 from 2015’s Glean before they wound back to Don’t Let’s Start, the mid-‘80s single that first snared me, courtesy of a little late night Radio 1 airplay. They remain innovative too, having launched an ambitious 52-track week-by-week Dial-a-Song project in 2015, with a neat example of that aired in I Love You For Psychological Reasons.

Apollo_18_album_coverMeanwhile, Flansy apologised for the band ‘staring at their hands’ a lot while they were concentrating on the newer songs, some of which this punter probably missed out in this review, my usual method of a few scribbled lines every few songs catching me out. But I had no reason to forget or misplace memory of Apollo 18 cut Turn Around, dedicated to all the short people struggling to see past the 6ft-plus fans, leading to a huge cheer from the woman behind me, the likes of this blogger accused from the stage of taking the band’s name too literally.

Taking my earlier point about explanations, I’ll not try and categorise here, but how could I anyway when songs like Authenticity Trip remind me in equal doses of both The Scissor Sisters and The The? There was certainly a wide range of eras covered here too, across the albums, the band heading back 30 years, for example, for Nothing’s Gonna Change My Clothes, then returning for the chirpy We Live In A Dump, recent wonder Answer (if ever a song deserved chart success, it was this fine ditty) and hi-energy disco stomp Man, It’s So Loud in Here.

For all their time in the business, the two Johns reckon they’re still regularly asked by family if there’s a Plan B, and accordingly revealed details of their new cover band if the moment should come, Destiny’s Child’s Child, giving us a taster with Bills, Bills, Bills – Linnell as Beyonce, Flansy as Kelly Rowland, the other three taking the role of the third member. Visualise all that?

We also had the super-catchy Older – with John L interrupted by a phonecall from ‘The Ghost of Manchester Academy Past’ mid-song – and a mightily-quirky Trouble Awful Devil Evil, the afore-mentioned songsmith taking to bass clarinet for a stirring Cloisonne while Flansy stepped up to the main mic. In fact, this was very much an interchangeable feast all evening, everyone bar the industrious sticksman Marty swapping roles from time to time, and to great effect.

Further near-hit Meet James Ensor proved a big crowd-pleaser and led to quirky country humdinger Number Three, the band then quickly upping gears for The Famous Polka. They also delved into 1988’s Lincoln for Where Your Eyes Don’t Go and treated us to Careful What You Pack, which we’re led to believe was turned down for a film for being ’too beautiful’.

In these worrying times of Trump and co, we had a lesson from US history in James K. Polk, before indulging Flansy for a flighty Let Me Tell You About My Operation. As you probably know, in recent years TMBG have built a reputation for ‘kid’s albums’ too (and the day before had played to a young audience in Glasgow) and we were treated to the awesome Alphabet of Nations before Flood’s rock-n-roller Twisting and fave rave Dr Worm (’I’m not a real doctor, but I am a real worm’) saw us out for the first time.

Three encores followed, starting with a thumping cover of Jonathan Richman’s I Was Dancing in the Lesbian Bar and the ever-sublime Particle Man, John L delightfully segueing into Dolly Parton’s Here You Come Again en route. Then came a jig-crazy Damn Good Times, the band complaining it was too cold backstage as they swiftly returned for debut album perennial She’s an Angel (anyone who can get the word nonchalant into a song is alright by me) and an equally-loveable Robot Parade, proffering a glimpse into a future where Faith No More seem to have gone electronic.

Sky Scrapers: Messrs Flansburgh and Linnell work out their tour strategy

Sky Scrapers: Messrs Flansburgh and Linnell work out their tour strategy

Despite Mr Linnell protesting (and pretending) that they had run out of songs, they still managed to come up with those 1990 pop exclamation marks, Birdhouse in Your Soul and Istanbul, the latter’s extended instrumental finale just the perfect climax.

Incidentally, at one stage we were requested to share photographs of ourselves via social media to let everyone know how disappointed we were by the night’s entertainment. You may even have spotted a few examples. At the risk of going back on my word and trying to explain the TMBG experience, I guess that’s the kind of band we’re dealing with here.

Given free rein I might have chosen half a dozen other great songs on the night, but I’m sure a few of them will be aired elsewhere on this tour. Besides, something had to give and people had last trains and buses to contemplate. Similarly, I’ve probably missed a few songs in this review, and maybe got a couple out of order. I tried to keep up, but was clearly having too much fun. I’m not sure it really matters anyway.

Thanks for sharing something special though, fellas. It’s been surreal … but somehow real.

For the recent writewyattuk feature/interview with John Flansburgh, head here.  And for further tour dates, ticket details and all the latest news from the band, head to their Facebook and Twitter pages or the official TMBG website.

Posted in Books Films, TV & Radio, Comedy & Theatre, Music | Tagged , , , , , , , , , , , , , , , , , , | 2 Comments

From The Jam / Nine Below Zero – Colne, The Muni

Jam Session: Russell and Bruce in action at Cardiff Tramshed, December 2015 (Photo: Warren Meadows)

Jam Session: Russell and Bruce in action at Cardiff Tramshed, December 2015 (Photo: Warren Meadows)

Any musician worth their salt will have learned a great deal by getting along to the mystical East at the weekend (well, East Lancashire, any road), for a masterclass in maximum r’n’b and impassioned post-punk.

While The Jam material played by the band’s latest incarnation was more familiar to this packed-out crowd, there was plenty to warm to from specially-chilled guests Nine Below Zero, on a night when a cold wind blew down Albert Road and snow was forecast.

I’d hate to guess the average age out there, but reckon I helped bring it down (says he, in his late 40s). Yet there was enough adulation from young and old alike to suggest there’s no best-before date on great music.

Dennis Greaves’ openers have certainly been around the block a few times, this respected South London quartet soon causing a live stir with a set chock-full of rhythm’n’blues standards, including many of their own making.

There was a proper Dr Feelgood vibe too, a great influence on each band (in fact, Wilko Johnson’s 20 Yards Behind got a welcome airing), and by evening’s end we were left in no doubt as to the enduring attraction of both outfits.

Much of the crowd were outside the main hall at this characterful venue early on – at the bar or in a nearby local – but the whole building throbbed from the outset.

Soundcheck Blues: Nine Below Zero look to acclimatise to East Lancs (Photo from the band's Facebook page)

Soundcheck Blues: Nine Below Zero acclimatise to East Lancs (Photo from the band’s Facebook page)

Perhaps we got used to the volume, or the larger numbers soaked up some of that, but by the fourth number there was movement out on the floor as the band gave their own spin on classic blues and soul, alongside their own revered numbers.

From I Can’t Help Myself, Hoochie Coochie Coo, Boom Boom Boom, Can I Get a Witness? and Got My Mojo Working onwards, we were a captive audience.

All were given a Greaves twist too, the frontman’s gruff delivery and esteemed fretwork neatly aided by Mark Feltham’s heart-felt harmonica (the respected session musician featuring on Bruce Foxton’s new album, I believe) and a rigorous engine room stoked by Brian Bethell (bass) and Brendan O’Neill (drums).

Don’t Point Your Finger at the Guitar Man, Three Times Enough and Treat Her Right kept the groove going, all three featured on the 1981 album that featured on the band’s backdrop cover art – helping give us a ‘then and now’ outlook.

I can’t say I expected Area Code 615’s theme from The Old Grey Whistle Test when I set off, but I was far from disappointed. And we also pondered on Dennis’ delivery of Rockin’ Robin against little Michael Jackson’s version, before Wooly Bully and Eleven by Eleven (the volume level of the amps, maybe) saw them out in style.

Bruce-Foxton-Smash-the-Clock-cover-jpgThe floor was packed by the time Bruce Foxton and Russell Hastings stepped on stage, with assured backing from Paul Weller session player Tom van Heel (keyboards and occasional guitar) and drummer Mike Randon.

The audience were eating out of their hand from the opening bars of A Town Called Malice, and the joint rarely stopped rocking from there.

From Bruce’s take on The Kinks’ David Watts to fellow All Mod Cons rave To Be Someone, there was no doubting this was the real deal, Weller and Rick Buckler’s absence not an issue.

The next section, from Man in the Corner Shop, Pretty Green and But I’m Different Now to The Gift reminded us – as if we really needed reminding – of the depth of those final two albums and young Weller’s songwriting, all respectfully delivered by Russell.

Bruce – restricting himself to just a few trademark leaps these days – was back to the fore again with the ever-poignant Smithers-Jones, before the evergreen Boy About Town, a song that never fails to set up an evening out for this perennial teen.

When You’re Young and Saturday’s Kids fall into that same hallowed territory, while 1982’s Ghosts gave us a chance to reflect, and Pictures and Diamonds proferred an intriguing glimpse of what’s to come with the eagerly-awaited new Bruce Foxton album, Smash the Clock.

Colne Dynamo: The Muni (Photo: http://www.themuni.co.uk/)

Colne Dynamo: The Muni (Photo: http://www.themuni.co.uk/)

But while much of the newer material would deserve a place in this set, Foxton and Hastings never deny the average crowd what they really came for, and as The Public Gets What The Public Wants show title suggested, from there on it was it was all tried and tested, classic Jam.

A sing-along That’s Entertainment and Start followed, then a storming run through the debut LP’s Larry Williams cover Slow Down and modern anthem for disaffected youth The Eton Rifles.

The band finally got their collective breaths back and returned, Down in the Tube Station at Midnight rattling powerfully down the tracks before frenetic debut single In the City and the inevitable Going Underground saw us home, our revision session in great live music complete, and this punter pleased to get back down the M65 without having to use a snow shovel.

For this blog’s recent interview with Bruce Foxton, head here. And for all the latest from each band, try the Nine Below Zero and From The Jam Facebook links.  

Posted in Music | Tagged , , , , , , , , , , , , , , | 5 Comments

Going back 25 years, ending up 10,000 miles from Kingfield

Still Buzzing: Tim Buzaglo gets the national headlines in January 1991 (Image from the writewyattuk archives, with proper credit to the original photographer & publication)

Still Buzzing: Tim Buzaglo gets the national headlines in January 1991 (Image from the writewyattuk archives, with proper credit to the original photographer & publication)

Woking’s National League defeat at Altrincham on Tuesday, January 26th, 2016, won’t stay in the memory bank for long for too many Cardinals fans, despite the latest party-piece goal from free-kick maestro Giuseppe Sole.

For a moment there in the second half, Gez’s strike suggested my team might get something from this midweek away fixture, stretching an unbeaten run to 12 matches. It wasn’t to be though, and the lowly Robins – the team papier-mâché big-head Frank Sidebottom once told us he was ‘bobbins’ about – soon finished us off amid swirling rain in Cheshire. But there was at least one other moment that resonated for me on the night, and it happened almost an hour before kick-off as this part-time reporter managed a brief chinwag with a non-league legend.

You can get blasé about meeting your heroes, and I’m lucky enough to be in a career where I get to interview a few of the big figures that have made an impression on my life so far. For the most part that involves musicians, authors or comedians. But now and again there are sporting heroes too, and Geoff Chapple falls nicely into that category.

I knew little of Geoff, who turns 70 this year, until I was around 19, but his achievements in football over the next two decades put him up there with the stars of my childhood, not least through overseeing a record number of FA Trophy victories (five in seven seasons, three with Woking) and a few notable FA Cup scalps. And passing the time of day with him today still gives me a warm glow, even if it’s just a few shared words on a miserable winter’s day at Grange Lane, North Ferriby, or a rainy night at Moss Lane, Altrincham.

What’s more, when myself, photographer David Holmes and club director/ambassador Geoff chatted in Cheshire this week, I had the pleasure of reminding the latter exactly where he was a quarter of a century before, with a few memories stoked just days before this season’s FA Cup fourth round fixtures.

Let’s face it – Geoff, his coaching team and players have given this scribe and WFC terrace devotee plenty to savour down the years, from memorable league encounters to crucial cup games. But there’s one particular campaign he will be forever associated with on a wider scale, and that took place in that 1990/91 football season.

Cardinal Legend: Geoff Chapple, taking time out before kick-off at Altrincham, 25 years after his Woking side gave Everton a battle at Goodison Park (Photo: David Holmes)

Cardinal Legend: Geoff Chapple, taking time out before kick-off at Altrincham, 25 years after his Woking side gave Everton a battle at Goodison Park (Photo: David Holmes)

So cast your mind back to the days of yore, before the birth of the Premier League, Justin Bieber and Harry Styles, and even before Jurassic Park’s velociraptors roamed the cinemas. I’m talking about an era pre-dating the whole Strictly Come X-Factor Talent circus, when the Manchester Ratepayers’ Stadium was just wasteland and ISIS were just something that helped you cool down on hot summer days. For in early 1991 the road to Wembley was temporarily re-routed via Kingfield, Aggborough, The Hawthorns and Goodison Park, and errant coach drivers couldn’t even blame satellite navigation.

In many ways, I can’t quite get my head around the fact that Woking’s famous FA Cup run was 25 years ago. Yet while I can’t readily recall much about what happened a few days before Christmas 2015, I remember a fair bit about that campaign, despite my absence from these shores at the time. You see, at the time of my club’s most memorable spell in the national spotlight I was in Australia – 10,000 or so miles from Kingfield, so this feature might as well be sub-titled, ‘I wasn’t there!’

Let’s back up a bit first. To properly put you in the picture I’ll transport you to November 1986 and a 1-1 first round proper home draw with Chelmsford City, my Kingfield terrace debut, the Cards having made their way through all five qualifying rounds for the first time since late 1978 (when we went out to John Toshack’s Swansea City after a replay, having held the Third Division side – during their meteoric rise to the top flight – 2-2 at the Vetch Field before a 5-3 extra-time defeat at Kingfield, our best-ever post-war showing).

The abiding recollection for this first-timer was keeping half an eye on the skirmishes around us on the terraces. But – with no repeats of trouble I recall – I was showing up a lot more by the time we fought through all the qualifying rounds again two seasons later. This time we crashed out 4-1 at home to Cambridge United, a Chris Turner team languishing in Division Four. It was a great occasion all the same, this teen somewhere within what we thought of as the ‘bus shelter’ which in late 1995 made way for the Leslie Gosden Stand.

The following season Geoff’s outfit reached the first round again, winning 2-1 at Conference-bound Slough Town, Tim Buzaglo and Paul Mulvaney scoring, only to go out in the next round to … yes, Cambridge again, 3-1 at the Abbey Stadium. However, it was another big day (the only time I travelled to a game by supporters’ coach), and we got the odd mention nationwide plus a healthy pay-off. But the best was still to come.

On the whole that ‘89/’90 season was a great success with our FA Cup run, reaching the FA Trophy last 16 and league and county cup semi-finals, and winning promotion to the Isthmian League Premier (just one tier off non-league football’s top flight). But I tried not to take too much interest in our ‘90/’91 prospects, having just paid out for my world trip.

Hero Worship: Woking FC's class of '90/'91, with a few notables missing (Image from the writewyattuk archives, with proper credit to the original photographer & publication)

Hero Worship: Woking FC’s class of ’90/’91, with a few notables missing (Image from the writewyattuk archives, with proper credit to the original photographer & publication)

I had few qualms about leaving Blighty the night of my final match of 1990, a 2-1 home win over Enfield on a cold Tuesday in late October. That included a cracking goal from the occasionally-sublime Mark ‘Biggo’ Biggins, and we not only stayed top but also underlined our prospects for a real shout at that year’s title. However, as a bitter wind rattled around us, the absence of romantic fixtures in our division was never more clear as the fans sang, ‘If you all went to Dagenham, clap your hands’.

As I later wrote, ‘You know how it is. The days get colder and the terraces are subjected to the foggy breaths and stamping feet of diehard fans, clapping the feeblest of efforts in an attempt to keep warm on a freezing night. But for the non-league teams that make it to the first round of the world’s greatest knock-out competition, there is still a slim hope that national stardom and pride of place are just around the corner’. That said, I was set to fly to Thailand later that week, en route for a trek across South-East Asia towards Australia and New Zealand, the thought of which helped keep me insulated as the blood stopped circulating, gloating as I pictured the hard English winter sure to follow, one I wouldn’t have to endure.

However, I had last-minute concerns about leaving my Lancashire-based better half behind, and a nagging doubt that something big was going to happen, having seen us knock out Conference side Bath City that previous Saturday to earn a first-round tie with another team from England’s fifth flight, Kidderminster Harriers. I can’t recall too much about that match, but my diary mentions a nail-biting last 20 minutes, a couple of pre-match pints at my old Shalford local, and a visit to a sports shop in Knaphill, this departee contemplating shelling out on a club top for my travels. But with my budget already stretched, a £21 price tag – which would pay for a week’s accommodation and food on Koh Samui at the time – seemed too steep.

I also felt I could survive without football for a while. Besides, as I later put in writing (think of it as therapy), ‘What would you choose? A Thai Airlines 747 to the mystical East, or a day-trip in Alan’s Talbot Sunbeam to Worcestershire?’ I was interested in the outcome, but knew my best bet was to put all thoughts of ‘soccer’ out of my head as I headed Down Under.

Yes – soccer. We may speak the same language, but the average blue-eyed Aussie clearly didn’t give a XXXX about real football, as I was about to find out. Things might have changed since, but when I was over there the balls were definitely a different shape (so to speak). When they talked about ‘footie’, it involved something we knew better as rugby league, without so many bad Eddie Waring impressions.

There was plenty of animated discussion about State of Origin test matches (Queensland vs New South Wales) or league battles involving that year’s champions Penrith Panthers, runners-up Canberra Raiders, my cousin’s team Brisbane Broncos and even the intriguing Manly-Warringah. But you had to work harder to find out about those who didn’t pick it up and run with it (so to speak).

Brisee Belle: The blogger with his cousin Debbie and Tilly the dog, about to leave Brisbane (Photo: Ian Donmall)

Brisee Belle: The blogger with his cousin Debbie and Tilly the dog, about to leave Brisbane (Photo: Ian Donmall)

I visited the Kogarah Oval once, watching an impassioned derby between St George Dragons and South Sydney Rabbitohs as a guest of a home team sponsor, for whom I was helping renovate a 1920s house in the suburbs. But while I enjoyed the experience, it made me feel all the more homesick for those cold terraces back home. Thankfully, there was so much going on for me that, apart from the odd cold beer-fuelled argument about the Beautiful Game, I was managing to avoid it all, other than occasional sneaky looks at the Sydney Morning Herald results column.

But then l I blew my cover in Newcastle, and we’re talking the home of New South Wales RL outfit Newcastle Knights rather than the Newcastle United I left behind. Names like John Burridge, Roy Aitken, Gavin Peacock and Mickey Quinn meant nothing to locals I met.  Folk in Newcastle-upon-Tyne may pride themselves on their love of football, but those based in and around the Aussie namesake town seemed more interested in the merits of coach Allan ‘Macca’ McMahon and dependable skipper Michael Hagan.

I was staying in a hostel on the outskirts, among a gang of building site labourers, and at first I was oblivious to the fact that they didn’t have the remotest interest in the soccer highlights being shown on TV. I nonchalantly asked who was playing and got little by way of a response but for a worrying remark that it was ‘some wog side from Melbourne against some other wog side from Sydney’ (the derogatory term in their eyes relating to anyone with a better tan than themselves at the time – for the most part Lebanese, Greek, Italian, Chinese or Bosnian settlers).

Without their help, I eventually sussed I was watching an ill-tempered grudge match between Sydney Olympic and Melbourne Croatia, and got quite involved until a fellow guest proclaimed, ‘We ain’t watching this crap!’ and turned over to a Lassie film. My flabber was suitably ghasted, but it was pointless making something of it. For a start, the bloke with the remote control was built like a proverbial outside dunny. I decided there and then there was little hope for these ill-bred sons of convicts, the conversation turning to ‘proper footie’ as I drifted off while half-watching this tired old MGM blockbuster.

“Woof woof!”

“What’s that, Lassie? These fellas don’t know who Timmy Buzaglo is and are stuck down a cultural well?’

Meanwhile, back in the real world as I knew it, Woking overcame Kidderminster after two replays (none of this one replay followed by a shoot-out format in those days), going on to thrash Merthyr Tydfil 5-1 at Kingfield, on a day when even JRR Tolkien fans would have appreciated Biggo bagging a hat-trick to set up a West Midlands awayday.

Great Read: Cards keeper Tim Read gets the national adulation (Image from the writewyattuk archive, with proper credit to the original photographer and publication)

Great Read: Cards keeper Tim Read gets the national adulation (Image from the writewyattuk archive, with proper credit to the original photographer and publication)

Chances are you know the rest, ‘Scuffer’ Buzaglo on spectacular form as the Cards stuffed their Division Two hosts 4-2 at The Hawthorns to book a dream fourth-round tie at Everton, going on to give Howard Kendall’s outfit a mighty scare before a solitary Kevin Sheedy second-half decider in front of a 34,724 gate, around 10,000 supporters cheering on the Cards. And by then I wasn’t only getting cock-eyed news about ‘Woking Town’ from British Soccer Weekly, but also from my nearest Aussie daily. For these were heady days, a great deal of the world taking an interest in ‘tiny Woking Football Club from the Home Counties’ commuter belt’.

By the time of the West Brom game, I’d shelled out the last of my savings on an old VW Kombi van with a fellow traveller, and that day embarked on a return run to Noosa on Queensland’s Sunshine Coast, joining my cousin Dave. Within a few weeks I’d be tackling 12-hour stretches along remote bush roads at the wheel of our ‘big bus’, but this was our maiden voyage and I was a nervous wreck by the time we re-crossed the imposing Gateway Bridge back towards Manly West in the early hours.

Our van eventually ground to a halt outside my aunt’s house, and I stumbled up the steps to the front door, still going through the motions of driving, concentrating on nothing but my bed. Yet I managed to focus just long enough to see a huge homemade paper banner strung on the wall, proclaiming the legend ‘Woking For The Cup’. It didn’t seem to make sense. I don’t think I’d even mentioned the tie to my Mum’s sister. But a second banner to the side read, ‘Newsflash from Mark: Woking 4 West Bromwich Albion 2’. And there on the table was a further cryptic clue – a scribbled note mentioning a late-night call from my brother, including several attempts by Auntie Lesley to spell ‘Buzaglo’.

Suddenly I was very much awake again, spending the next couple of hours alone at the kitchen table, downing Castlemaine stubbies, never before feeling quite so far from home. The next day there were even a couple of paragraphs about it all in The Courier Mail. I soon set off for pastures new, taking the inland highways this time, heading slowly back to Sydney, giving our ‘Brisee Belle’ a proper road test. But the ghost of my soccer past was never far behind, with Woking’s mighty performance at Everton just three weeks ahead.

On the day in question I was slowly recovering from a heavy night in Sydney, drinking too much Toohey’s Red on Australia Day, part-celebrating an offer of work – cash in hand – that would give us a chance to move on and semi-circumnavigate this huge island-continent. So while Geoff Chapple’s side played the game of their lives on Merseyside, all I could do was sit there, almost comatose, watching England cling grimly on in the Fourth Test at Adelaide via Channel 9, paying the price for my drunken indulgence.

I finally managed to pick up the phone at nine that next morning (eight the previous evening in the UK) to call my beloved, who was celebrating her 26th birthday. It wasn’t a great line, the two of us struggling with the time delay, our own voices echoing, but she soon asked, ‘Is there another reason you’re ringing?’ There was, of course, and she soon told me all she knew about that 1-0 defeat at Goodison Park. In a sense I was relieved we’d gone out. I’m not sure I could have taken another round, not least as the Toffees were set to face Liverpool in the next round.

Merseyside Dream: More national adulation for Woking FC (Image from the writewyattuk archive, with proper credit to the original photographer and publication)

Merseyside Dream: More national adulation for Woking FC (Image from the writewyattuk archive, with proper credit to the original photographer and publication)

It’s difficult to get your head around all that in our modern age of broadband internet, Skype calls and so on, but it wasn’t until February 5th that I got a letter from my Mum including a page spread on that match. I never got to see all the newspaper reports she gathered over that period until I returned home in June for my big sister’s wedding. And at that stage it all still seemed a little surreal, comparing the great Surrey Advertiser coverage by Chris Dyke with less-accurate pieces in the nationals that Mum – working in a village newsagent’s then – had riffled through.

The public clearly fell in love with my team and the many personalities within that classic Cards line-up. Less salubrious rags were full of tales of ‘Bonking’ Bradley Pratt’s appetite for rumpy-pumpy on match days, and laidback Gibraltarian Buzaglo being fed grapes by his wife Rita. It seemed that ‘Effin’ Fred’ Callaghan and co. were more than happy to supply a few spicy stories to the hacks in exchange for national headlines, the tabloids finding new spins on those Crazy Gang tales featuring Dave Bassett’s Wimbledon.

I soon left Sydney, headed for Melbourne, Adelaide, Uluru, Darwen and all points between, traversing outback Australia and only occasionally picking up mail. So it was seven weeks before I had my next first-handwritten reports of that amazing Cup run, while on a remote campsite north of Alice Springs in mid-March, among a batch of letters collected from the nearby Poste Restante. For once I was content to have a night in the van, a stack of reading and feeling homesick ahead of me.

It’s a strange thing: I loved my travel adventures, but at times like that all you can do is rue what you’ve left behind – in my case my Lancashire lass, my Surrey family, my mates and my old social life. All you’ve seen and experienced doesn’t mean a thing, however beautiful the sunsets. And you know you’re truly missing something special when you get a long letter from someone who normally had trouble writing, ‘Gone to the pub’, let alone three whole pages. But as I picked up fellow Cards fan Al’s letter, the situation seemed even bleaker. There I was, 1,000 miles from the nearest town, and all he could do was rub it in:

‘Dear Malc,

I’m sitting here in my dimly-lit bedroom, listening to my Joy Division records, with the snow falling and the temperature well below freezing. The economy is in recession, unemployment rising, there’s war in the Gulf, Poll Tax … you get the picture. But am I depressed? No! Why? BECAUSE I WAS THERE! …..”

Alan went on to catalogue those special moments at the Hawthorns and Goodison Park, and all I could wonder was what I was doing there while Timmy Buz knocked seven shades out of the Baggies. He added how we’d really taken the pee by bringing on a ‘growbag’ as a sub and how he ended up scoring our fourth. Belated apologies to Terry Worsfold there, but my unlikely correspondent went on to marvel at the memory of Bradley Pratt, Trevor ‘Smokin’ Joe’ Baron, Biggo, Mark ‘Frilly’ Franks and co. on the same pitch as all those Merseyside-based internationals, giving them a proper battle.

Regal Respect: The Cardinals take the plaudits at Goodison Park (Image from the writewyattuk archive, with proper credit to the original photographer and publication)

Regal Respect: The Cardinals take the plaudits at Goodison Park (Image from the writewyattuk archive, with proper credit to the original photographer and publication)

No doubt aware of the damage he was doing, he at least added a touch of gritty realism with his concluding line, writing ‘the League and AC Delco Cup shall now be concentrated on’. He also included admission ticket number 177, inscribed with the not-so-legendary caption ‘Woking 0 Barking 0’.

It was the story of my life. I thought of all the matches I witnessed in previous seasons, against the likes of Dorking, Dulwich Hamlet, Southwick and Seaham Red Star. Yet the moment I turned my back on Blighty, the Cardinals did this. To add insult to injury, British Soccer Weekly reported that Aussie TV would show highlights of the FA Cup, round by round, that following season.

Things weren’t the same on the home front after that. A backlog of fixtures spoiled our promotion hopes, Redbridge Forest taking the title in front of barely 300 jubilant fans. And I was secretly pleased I hadn’t missed out on anything else. Things returned to normal and I basked in the sun on a holiday of a lifetime, the Cards eventually settling for fourth place and an AC Delco and Surrey Demolition cup double after a mighty 66-game season.

As I put in a feature in the late ‘90s, ‘Now it all seems a long time ago, the days of boring everyone with my travel tales and photos long since passed. And after that next term’s league title, our Conference glory days, further FA Cup triumphs and three FA Trophy wins at Wembley, I had no cause to complain. But I could still do without hearing all those nostalgic rambles about our Midlands and Merseyside epics before a pitying, “But of course, you weren’t there, were you?” Sick as a cockatoo, Brian’.

Everton went on to draw twice with Liverpool (0-0 sand 4-4) before a 1-0 win one month after the same outcome against Woking saw them into the last eight. From there, it was a negative run, the Toffees losing to West Ham, who lost to Nottingham Forest, who in turn went down 2-1 after extra time at Wembley to Spurs in a classic final.

Coincidentally, myself and Everton fan Mick Stack, from Crosby, planned to watch the final live from a hostel in Queenstown, New Zealand after a night on the beer and a little clubbing. But our 2am viewing was ruled out as we were in a remote part of South Island where Channel 3 didn’t quite reach. Faced with that disappointment we decided instead to take a Likely Lads approach, avoiding the result until we’d tracked down a repeat showing in Dunedin. But we hadn’t figured on having local radio piped into our rooms at 8am, hearing the outcome on the news.

Cards Trick: Tim Buzaglo and Adie Cowler in the media spotlight (Image from the writewyattuk archive, with proper credit to the original photographer and publication)

Cards Trick: Tim Buzaglo and Adie Cowler in the media spotlight (Image from the writewyattuk archive, with proper credit to the original photographer and publication)

Incidentally, that was the day Paul Gascoigne suffered his cruciate ligament injury, the same injury that ultimately wrecked Tim Buzaglo’s playing career three months earlier – barely a fortnight after the Everton tie – following an X-rated St Albans City tackle. Buz finally returned and played a minor part in our early Conference adventures, but was never really the same player.

As it turned out, we were only really getting going, Geoff Chapple, Fred Callaghan (who left that following season) and Colin Lippiatt’s side gathering momentum. I was back by June, 1991, and witnessed plenty of key moments during the following promotion-winning season – after just two terms in the Isthmian League top flight. That led to a 17-season first spell in the Conference, nine of those involving top-10 finishes, including two second-places and two third-places in the era before play-offs at that level.

We also won the FA Trophy at Wembley three times – to add to 1958’s FA Amateur Cup success there – by seeing off Runcorn, Kidderminster and Dagenham and Redbridge respectively in 1994, 1995 and 1997, and enjoyed a few more FA Cup highlights, including taking Brighton to a replay in late ’92 (repeated 18 years later) and winning at Millwall and Cambridge United (revenge at last) in late ’96 to set up another day that will always remain with me, a 1-1 third-round draw at Coventry City in late January ’97 (followed by a narrow defeat in the replay at ours).

In fact, we made it to the third round three times in the following six seasons, as opposed to progressing beyond the first round only twice in the next 18 seasons. I guess it’s human nature that we don’t appreciate something until it’s gone, but we’re surely due more national headlines by now. This season’s early exit at Maidenhead United – getting piss-soaked in the process – was a case in point. We haven’t impressed in the FA Trophy either, our last best campaign a defeat in the final to Grays at Upton Park in 2006, another day that didn’t quite go to plan.

But I can’t complain. I’ve got my VHS tapes from those wonder years backed on to disc, and all these years on we’re back on the fringes of the Football League, these last five years under Garry Hill and Steve Thompson (our goal hero at Coventry) seeing us on a high again. And despite our 2015/16 FA Cup no-show, this could be our year, with the National League play-offs in reach and a last-16 FA Trophy home tie coming on February 6th.

No pressure of course, but I’ve been waiting to visit the rebuilt Wembley Stadium for nine years now. And if the current gaffer needs any advice on those big occasions, he just needs to have a quiet word with Geoff, our in-house legend. I can’t promise I’ll be out of the way Down Under this time though.

Sydney Skyline: The blogger looks towards the big city, probably trying to avoid any sports news from home (Photo: Ian Donmall)

Sydney Skyline: The blogger looks towards the big city, probably trying to avoid any sports news from home (Photo: Ian Donmall)

With thanks to the various photographers and publications included in the scrapbook pages above. Where credits are needed, please let me know.

To rewind the years and relive some of those heady Woking FC moments from 1991 and other key Cards clashes down the years, I heartily recommend the Cardinal Tales’ YouTube channel here. 

Posted in Books Films, TV & Radio, Football | Tagged , , , , , , , , , , , , , , , , , , , | Leave a comment

Giants’ steps lead to Manhattan transfer – the John Flansburgh interview

Two Johns: TMBG founders John Linnell, left, and John Flansburgh (Photo: Shervin Lainez)

Two Johns: TMBG founders John Linnell, left, and John Flansburgh (Photo: Shervin Lainez)

The signs weren’t so good when I made contact with John Flansburgh in Manhattan last week. He sounded affable enough, but he’d already had a hard morning fielding questions from UK journalists.

“I’m completely bored of myself. I’m just going to start saying things that aren’t even true, to keep myself interested.”

In response, I promised I’d make my questions as interesting as possible, prompting a somewhat typically-deadpan response.

“Oh, don’t worry about me. I’ll just start lying.”

John was at a friend’s apartment at the time, the Massachusetts-born and bred musician and occasional actor having been based in New York City since the early 1980s. so does he ever get back to Lincoln, MA, where They Might Be Giants, the band he formed with John Linnell in 1982 hail from, and which gave its name to their second album?

“My Mom actually moved to Florida, doing the thing people tend to do here. So there’s no real reason or excuse to get back. For years I’d go back for holidays though. It’s a very beautiful part of the world.

“However, I don’t know if you’ve heard the term, ‘snob zoning’, but there’s a little of that. When my parents moved there it was very much under-developed, but it became much fancier after I left. They probably figured it was safe to make it nice! There was a lot of defence industry engineering going on, high-tech and professional in the suburbs. It got pretty posh. I’m sure it’s a dilemma British people feel all the time – you want to be some place that’s pretty, but it becomes pretty fancy!”

So when were the two Johns, the two Dannys (Miller and Weinkauf) and Marty Beller flying over to join us in the UK?

“Right after the enormous snowstorm … apparently there’s a huge one coming on Saturday.”

Back Home: Lincoln, the second TMBG album

Back Home: Lincoln, the second TMBG album

Yes, you guessed it. Our conversation happened just a couple of days before that ‘big dump’, and at one point it looked like the tour was in jeopardy. Either way, it seemed that the tickets were being snapped up fast for a band described as ‘Brooklyn’s very own perpetual-motion machine’.

“Yeah, the shows are all selling out. There’s something very relaxing about playing a sold-out show. The artist feels like he’s done his job before even getting on stage. Can’t do any better than that!”

Then there are 20 dates back home. Is it likely to be a similar situation there?

“We’ve sold out a couple of shows already, but tour the United States pretty relentlessly, and there’s almost a ‘how can we miss you when you won’t go away?’ problem. People post on social media if we’re playing a venue out of town rather than a regular venue, it’s too far away and they’ll see us next time – not the response you want!

“The thing is that I don’t know how frequently we will tour in the future. Hopefully we will, but I don’t want to spend my entire life sleeping on a tour bus. So far I’m 25 years into it. It will be exciting not to tour every year.”

You’ve certainly put in some miles on the road since forming in 1982. Have you learned to make the most of those pockets of spare time between your travels, soundchecks, performances and hotel stopovers?

“I’ve really given up thinking I’ll be able to do more than just what I’m doing. It’s a very physical show, so when I’m not on stage I’m usually in a state of preparation or total collapse. Every day I’m just recovering from a show. Others in the band are more physically fit and go out and do museums and touristy things, but I don’t have the energy to get that extra layer of experience.

“That said, I’d be lying if I said I didn’t really enjoy it. I love doing the shows. It’s cliché to say a couple of hours of playing make all the rest worthwhile, but if that isn’t worth it, it really wouldn’t be worth it! That’s the reason so many bands explode. It’s too physically unrewarding being in a band that’s not capturing your imagination!”

Imagination has never been a problem with TMBG’s creative geniuses, and that hectic schedule doesn’t seem to affect their output either. And the last 12 months’ material alone suggests they haven’t lost the ability to write cracking songs and hooks.

“Oh, thank you! People point out we’ve been doing it for 30 years or whatever and ask how we can keep going, but we have all these fresh songs that are really exciting to play and that get a really big response.”

Glean Machine: TMBG's Glean, from 2015

Glean Machine: TMBG’s Glean, from 2015

At this point, John throws in something of a curveball to try and explain himself better.

“Do you get the Inside Amy Schumer show over there? She’s a very funny comedian, kind of shocking and a little provocative, and was doing a comedy sketch where she’s breaking up with her boyfriend and he’s yelling at her as she was leaving the apartment, and she says, ‘I hope you go see your favourite band and they only play their new songs!’ I just thought that was a great way to curse someone!

“I’m sensitive to that idea. I can imagine what that’s like. But I have to say a lot of rock bands are very lazy – I’ve seen so many bad shows where guys in the band clearly don’t give a rat’s ass about what they’re doing. When things start to fade they get into this bad imitation of themselves, and in some cases there are some highly notable bands that really should have stopped.”

You’ve always been a very clever band – the term ‘unconventional and experimental’ gets used a lot – with plenty of humour. But you never come over as smartarses.

“I think the level of humour in what we do is a natural reflection of us as people and comes very naturally to us. From an early moment we were aware of what worked with repeated listening. It wasn’t like we were overly ambitious and dreamed of being rock stars, but one of our genuine ambitions was to make records. And good records hold up to being listened to again and again – which is not the same as comedy.

“The theatre of comedy is like first time it hits you it’s interesting but if you hear the same thing again it’s more like ritual. So in general I think what we’re doing is deadpan in its ultimate way. If the main point was to be funny it should’ve been a whole lot funnier! But ultimately we want the songs to be something you want to listen to again and again, and that really the tempers the amount of humour there can be in any song you want to continue hearing. It’s pretty finite.”

The band are certainly far from one-dimensional, their 2015 output including the follow-up to the Grammy-winning Here Come the 123s and Grammy-nominated Here Comes Science, TMBG returning to making ‘family-friendly’ albums with Why? And like their ‘grown-up’ albums – with the most recent, Glean, also released last year, to a typically great response – the result involves plenty of memorable songs with irresistible melodies and original production techniques.

TMBGy also released a new song (and video) every week last year through their Dial-A-Song project (www.DialASong.com) while touring non-stop, including dates in Australia in the autumn and a month of shows on home ground at Brooklyn’s Music Hall of Williamsburg.

And all this between several other projects, this John alone having also featured in the band Mono Puff, and having spent time running a record label, directing music videos, producing other artists and working alongside his wife, co-actor, co-writer and occasional TMBG contributor Robin Goldwasser.

Could you ever have dreamed in those formative days of the band that it might all come to this for yourself and your fellow John (Mr Linnell)? Did you really think you might be giants overseas, or did you just crave success on a more manageable Massachusetts scale?

Question Time: TMBG's latest family-friendly fare

Question Time: TMBG’s latest family-friendly fare

“Some things have surprised us all along, while others seemed more manageable. When we first got booked for a regular show at CBGB’s I was amazed. It seemed impossible. But John had already played there in his previous band and his attitude was that it was kind of a dump! And by the end of our tenure there we were completely tired of playing there – it was a dump!

“There are so many things that are thrilling about playing to audiences though, getting used to being a performer. Neither of us had any professional training, even though we’d had this material for five years we’d worked on. It was on the job training and ‘earn as you learn’ while figuring out how to put on a good show. It was a challenge.”

For the first decade it was just the two Johns plus a drum machine. What became of your original drum machine? Is it in the They Might Be Giants Retirement Home now?

“In my apartment I have a hall of shame of drum machines, and in November we did a duo show where we played with drum machine tracks, doing songs from the ‘80s and early ‘90s but also brand new songs using that format.”

Did the original drum machine remember the old material, or did you need to take it to one side for a tapped-out reminder of the hits?

“Oh yeah! I think people were fascinated to witness that kind of presentation, and it works very well in a club but not so well in a theatre. You start to move into Milli Vanilli ratios of what feels prefab and what feels spontaneously generated.

“The drum machine show worked surprisingly well for us and doing it again was interesting. But one of the things that was strange about putting the track together and making all those rhythm section decisions was that there are so many aesthetic decisions to be made now that are so different, as to where electronic music and its production in 2016 is.

“It’s such a world away from drum machines we were working with in 1984. We were basically like cavemen. If all you have is rock you’re just going to smash the rocks together. That’s kind of what we were doing. Now I can put together a rhythm track in traditional ‘80s style sound or a very contemporary sounding rhythm track that is an homage to that ‘80s sound.

“There are a lot of bands right now – very much contemporary bands, where all their sounds draw on that ’80s aesthetic. There’s also a world of electronica dance music that contemporary audiences love and we can do that as well. So there are a lot of choices to be made, and they can be surprisingly challenging. It wasn’t a preset … put it that way.”

At that point our interview is temporarily postponed as John deals with his cat, which has just bolted the flat, in a scene reminiscent of a scene from cult 2014 Coen brothers film Inside Llewyn Davis.

Feline Groovy: Oscar Isaac with his co-star in Inside Llewyn Davis (Image: CBS Films/StudioCanal)

Feline Groovy: Oscar Isaac with his co-star in Inside Llewyn Davis (Image: CBS Films/StudioCanal)

It turns out that a friend had agreed to take care of his cats while he’s away. But one of John’s cats – an ‘extremely wily’ one – escaped while John was opening the door, and was three storeys away before he was caught. Perhaps he feared he was about to be transported back to the early 1960s’ Greenwich Village folk scene.

Anyway, with everyone back we continued, and I explained how for me it was hearing early single Don’t Let’s Start in 1987 on night-time Radio One that led me down the road to loving the band. And that made me wonder – does John think Europe understood the band better than America back then?

“In the first couple of years of our recording life, Germany was a huge booster of American indie rock – ‘college rock’ bands like Husker Du and The Replacements, the first wave of bands that ended up being called alternative rock, like R.E.M. and Green on Red.

“We were part of that proto-alternative rock scene and our booking agent booked a lot of bands that would be very familiar to you. And we discovered from around 1987 to 1989 that Germany was more receptive to that kind of music than any other kind of American underground music.

“I think they were always interested in American counter-culture and viewed it as a counter-cultural movement – almost being the opposition to mainstream music. It’s a funny idea, because I don’t think music ever comes from negative energy – that’s not how it works. But I think they took it that way.

“I was getting lots of questions about Frank Zappa from interviewers, who definitely framed us like that. So we toured in Germany a tremendous amount, doing four or five weeks a time, playing every major city as well as secondary places, sometimes very small audiences. It wasn’t unusual to play to a hundred people, night to night. To us it was really interesting and felt remarkably like a real career.

“We’d always stop and play in London, but it wasn’t for a while that things really started to click for us in the UK. It was more like a work project.”

Debut Album: TMBG's Don't Let's Start

Debut Album: TMBG’s Don’t Let’s Start

In my case, I’d say it was more a case of me and my indie sensibilities, searching for something slightly different. I don’t think there were too many of us thinking that way. But the big break was on its way, and certainly came with the third album, 1990’s Flood, which turned out to be the most commercially-successful in the UK of 18 studio albums, not least thanks to the success of first single, Birdhouse in Your Soul. 

That said, they’ve barely troubled the charts here beyond that, other than a 2001 hit with Boss of Me, the Grammy-winning theme tune of cult US series Malcolm in the Middle.

“Yeah, but what was crazy about Britain was that if they liked you they tended to like you a lot! The way things got built up was really wild. ‘This band are like The Beatles … and Hendrix … but better!’”

We do like to build bands up, then knock them down.

“Exactly. Quite a system you’ve got perfected over there!”

A discussion follows over which bands were currently being built up on our side of the pond, something I didn’t feel I could be classed an authority on these days, despite making positive plugs for a few bands, including one I feel has a lot in common in certain respects with TMBG – Public Service Broadcasting, suggesting he checked them out.

“I remember a bunch of years back we came over and the Arctic Monkeys were the band du jour. I recall thinking those guys were so young and weren’t going to look like that in two years. It would be strange for their audience to see them go through that metamorphosis of post-adolescent ageing.’”

Another call soon comes in, and I’m already over-running, but John seemed to be enjoying himself after all, and soon ‘bought us 10 minutes’. Either way, I dovetail my questions and try and get in as many as I possibly can.

Having mentioned Don’t Let’s Start, is it fair to say you taught American film director Adam Bernstein (who started out making promo videos with the likes of The B-52’s and TMBG before moving on to shows like Breaking Bad, Californication, 30 Rock and 2014’s Fargo) everything he now knows?

“I think Adam taught us everything we know! He’s had an amazing career. I haven’t seen or talked to Adam for years, but would love to have a beer with him and see where he’s at. He’s such a talented guy and was such a self-starter. I don’t think we even dreamed it could have the life it had, and he just kept on going – he’s a very big wheel in Los Angeles now.”

Float On: TMBG's breakthrough album, Flood

Float On: TMBG’s breakthrough album, Flood

What did respected British producers Clive Langer and Alan Winstanley add to your success with Flood?

“They were such gentlemen, so smart, operating with a kind of confidence and purpose. They were very close listeners to us as people and to the demos we put together. In a lot of ways they were classic pop producers – they amplified everything we were about.

“People make a fuss about Svengali producers like Phil Spector who bring in talent in a very a la carte way. With Langer and Winstanley part of what they were doing was lashing their sonic booster rockets to the very specific person they were working with. That’s why their records sound so different from artist to artist, rather than going through a template.

“They were a great team – both having skills the other didn’t have, respecting the other’s skill set. That was very exciting, and they were cool guys, and very generous.”

You’ve been known to play Flood live in reverse, from track 19 down to 1. How many other great LPs do you think would benefit from such a reconstruction?

“The truth is Flood was very much front-loaded. We were very nervous about making a hit record so did the classic thing of putting all the really hot songs up top. Faced with a night of playing the album in its entirety, if we were to do it front to back it would just spiral down into the space walk that it was!

“The CD era ushered in a lot of front-loaded albums. I’ve been listening to a lot of Rolling Stones LPs lately, and a lot of times the end of sides have the big songs on them. It was probably a trend people spotted in the ‘70s, but transferred to CD those songs just turn up in the middle!”

Do you regret not having Elvis Costello involved on your fourth album, Apollo 18? I’m intrigued as to how that would have worked.

“Elvis Costello was a huge influence on a lot of different levels. He’s one of the greatest talents going. It was an idea floated past us, but it would have been too intimidating. It would have been the opposite of the Langer and Winstanley thing. I wouldn’t know how to collaborate with somebody more famous than I!

“I guess the closest we came to that was working with the Dust Brothers. But the main topic with them is that it’s ever-changing. They have a very kaleidoscopic production technique and the fact that it’s identifiable doesn’t fully define it – they’re very wide open.”

With that John really did have to go, his next caller having waited patiently long enough, this interviewer having to wait until next time to ask the rest of his questions, not least the story of the next album coming our way, Phone Power. But as it turned out I probably could have called back a couple of days later for part two, while his band twiddled their thumbs amid the snowdrifts, waiting for JFK Airport to re-open. Thankfully that finally happened though, and I for one can’t wait to see them.

Take Five: From the left - John Flansburgh, Marty Beller, John Linnell, Dan Miller, Danny Weinkauf, coming to a town near you (Photo: http://www.theymightbegiants.com/)

Take Five: From the left – John Flansburgh, Marty Beller, John Linnell, Dan Miller, Danny Weinkauf, coming to a town near you (Photo: http://www.theymightbegiants.com/)

They Might Be Giants’ UK tour: Wednesday, January 27th – Leeds, Brudenell Social Club; Thursday, January 28th – Newcastle, Riverside; Saturday, January 30th – Belfast, Limelight 1; Sunday, January 31st – Glasgow, Celtic Connections Festival (two shows); Monday, February 1st – Manchester Academy 2; Wednesday, February 3rd – Cambridge, Junction; Thursday, February 4th – London, Shepherd’s Bush Empire.

For ticket details and further news from the band, head to their Facebook and Twitter pages or the official TMBG website.

 

 

 

 

Posted in Books Films, TV & Radio, Comedy & Theatre, Music | Tagged , , , , , , , , , , , , , , , , , , , | 2 Comments

Now the time has come – back in touch with Bruce Foxton

Bass Instinct: Bruce Foxton, performing with From The Jam at Cardiff Tramshed last December (Photo: Warren Meadows)

Bass Instinct: Bruce Foxton, with From The Jam, Cardiff Tramshed, December 2015 (Photo: Warren Meadows)

After an extended festive break, Bruce Foxton is all set for another punishing year for his band, with 100-plus gigs already arranged and a brand new album on its way.

If anything, the anniversary circuit is old hat for Bruce now, after several commemorative tours celebrating the music of The Jam, the Paul Weller-fronted band he initially joined in 1973.

From 1977 to 1982 this revered three-piece outfit, completed by drummer Rick Buckler, enjoyed massive worldwide success, releasing six studio albums and 18 singles, four of which topped the UK charts and five more made the top-10.

Then it was all over, The Jam’s front-man and chief writer forming The Style Council then later embarking on a stellar solo career. But while Bruce felt let down at first, he bounced back, a brief solo project followed by a lengthy spell in the reformed Stiff Little Fingers before Rick enticed him into guesting with Russell Hastings’ tribute band, in time evolving into From The Jam.

And while several personnel changes followed – not least Rick moving on at the end of 2009 – the inner nucleus of Foxton and Hastings remains, the duo set to release a second studio album this year under Bruce’s name.

Bruce and his songwriting partner clearly have another big year ahead, the diary already fairly full and Smash the Clock ever closer. So, to quote a song from the new LP, Now the Time Has Come.

“Exactly – back on it again! We finished in Brighton on December 19, and I enjoyed having Christmas and New Year off. We needed it really, to get fixed up again and all the aches and pains sorted out. Unfortunately, that’s the price Russ and myself pay. We give it everything … every show, and it takes its toll after a while.

“But we’re reasonably fit again now, so we’re going out again and I think we’ve got around 118 shows this year. It scares me when those words come out but it’ll be great once we get rolling again.”

Jump Boy: Bruce Foxton makes one of his trademark leaps (Photo: Warren Meadows)

Jump Boy: Bruce Foxton makes one of his trademark leaps (Photo: Warren Meadows)

That’s a lot of bass leaps – photographers somewhat duty-bound to catch Bruce airborne while playing during those shows.

“Well, they’ve got their work cut out – I kind of restrict leaping around these days, having had a couple of cartilage operations on one knee and being advised to not leap about as much. It’s not choreographed anyway. It’s not false or fake. I’m not just doing it so a photographer can snap me. It’s just what I do … when I do it.”

Where are we at with Smash the Clock? I heard it was set for a March 18th release.

“Well, here’s an update for you. We’ve been full on and we’re using Paul Weller’s studio – so when he needs it, he has it. What with that and fitting in studio time to finish it around our commitments, we’ve now knocked it back to late April.

“Not because we haven’t got the material – we just need to do one more lead vocal and backing vocals on a couple of tracks, then mix it. We’re in again in early February to finish it.”

Bruce-Foxton-Smash-the-Clock-cover-jpgWell, we’ve waited since 2012’s Back in the Room, so I guess one more month won’t hurt.

“We kind of figured that all round. We’re really pleased with how it’s sounding, so don’t want to rush the last couple of tracks. In fact, on tour in December Russ came up with this verse which was really good. We knocked it up while we were on the road, and thought we should record it. So every cloud has a silver lining – wait an extra month and you get an extra track!”

Fantastic, and I like the snippets I’ve heard, as a Pledge Music subscriber to the album. Remind us who features on this album other than yourself and Russell.

“Paul (Weller) does. He pulled something completely off the wall and out of the bag, as he does – he’s a talented guy and really added to a couple of songs. Wilko Johnson’s on it as well, and was the first to come in actually, around February last year. It was lovely to see him. The Jam were heavily influenced by Dr Feelgood, and it was nice to see him after his major op, looking so well.”

The Survivor: Wilko Johnson appears on Bruce Foxton's Smash the Clock album (Photo:  Wilko's <a href="https://www.facebook.com/WilkoJohnsonBand/">Facebook page</a>)

The Survivor: Wilko Johnson appears on Bruce Foxton’s Smash the Clock album (Photo:  Wilko’s Facebook page)

The legendary guitarist famously overcame the odds recently – having been told to prepare for the worst by medical experts – beating cancer following radical new surgery. In fact, Wilko seems to defy nature.

“Yeah, and long may that continue! We’ve also got Paul Jones, from The Blues Band and Manfred Mann involved. He lives very close to me, which I didn’t know until we got him in the studio, and plays great harmonica on a couple of tracks.

“It’s all sounding great. We’re really pleased with it, and now just want it finished.”

You mention Paul Jones, 73, and only last week I interviewed Colin Blunstone, 70, of The Zombies. Musical heroes like that, still playing and recording, must make 60-year-old Bruce feel young.

“Yeah – there’s hope for everyone! There’s no getting away from it, it’s hard being on the road. My wife ribs me about it, saying, ‘What are you moaning about? You’re in the car five or six hours, and you’re only sitting down’.

“It does gets tiring, but it’s a great way to get out there and earn a living. I’m just glad we’re still able to do it, very grateful – having all those classic songs to perform is a joy.”

From the Jam tend to alternate between band shows and acoustic performances these days. They’ve also taken to anniversary gigs celebrating past Jam albums. Is the Sound Affects 35th anniversary tour still on-going?

“I think there may still be one or two we rescheduled, but while we’re pretty much done there, our greatest hits sets still include tracks off every album.”

Those greatest hits shows – dubbed The Public Gets What the Public Wants in honour of a lyric from Going Underground – include visits to Bridgewater, Blake Hall (Friday, January 22nd), Barnstaple, Factory Petroc (Saturday, January 23rd) and Colne, The Muni (Saturday, January 30th) before the month is out, the latter following a rearranged Sound Affects show at Shrewsbury, The Buttermarket (Friday, January 29th).

And then there are the That’s Entertainment acoustic shows, starting at London’s Under the Bridge (Friday, March 11th).

“Yeah, we’ve got to get our heads around those again – they’re a whole different ball game the way we approach them, with the songs slightly changed as we don’t have a full kit behind us. I think we’ve got Tom (van Heel) on keys for those though.

Sound Affects: Russ and Bruce out front at Cardiff Tramshed on the Sound Affects 35th anniversary tour (Photo: Warren Meadows)

Sound Affects: Russ and Bruce out front at Cardiff Tramshed last December (Photo: Warren Meadows)

“When the idea was first suggested, acoustic shows, I was really apprehensive, having been used to having the power of a band behind me. I was so nervous. I get nervous whatever the show, but to go out there acoustic, you’re really exposed. You can hear a pin drop.

“That said, they’ve taken on a life of their own at some venues, as raucous from the audience point of view as anything with a full band. Unbelievable! Again, it’s testament to how great those songs still are. If you can play them on an acoustic guitar and get a reaction, you know you’re on to a winner.”

Seeing as you’ve branded those acoustic gigs your That’s Entertainment shows, I take it you realise it’s 35 years next month since that classic single was released.

“Well … you know more than I do!”

I doubt that very much, but it was February 7, 1980, when the single came out.

“There you go – and that’s what amazes me doing these anniversary celebrations. In a lot of ways it doesn’t feel like that long ago and I never thought I’d be doing it.

Time Out: Bruce Foxton, taking a break from recording at Paul Weller's studio

Time Out: Bruce Foxton, taking a break from recording at Paul Weller’s studio

“When the Jam split in 1982 I thought that was the end of it. But I’m proud and grateful I can still play those songs, and we still get great crowds.”

For me, Sound Affects and the singles that followed suggest The Jam were on a creative high then.

“Absolutely. It’s a great album. With the Setting Sons and Sound Affects tours I’ve re-learned some of the songs, and it hits home even more how great Paul’s lyrics are. It’s incredible considering how young we all were, to come up with those lyrics. I’ve probably paid more attention to that side of it now.”

Since I last caught From the Jam live – the third time I’d seen them at Preston’s 53 Degrees – they’ve switched personnel again, with Steve ‘Smiley’ Barnard joining Rick Buckler, Big Country’s Mark Brzezicki and Paul Weller studio aide Tom van Heel (who still helps out when he can on keyboards) in the ranks of former From The Jam drummers.

In his place is Mike Randon, a lack of availability for Smiley – who previously featured with Joe Strummer and Robbie Williams, among others – leading to a rethink.

“We just agreed to part company. We’re friends, he came to the Brighton show and we remain in touch. There’s no animosity. It was the practicality, with his band, Archive, away he couldn’t do the run-up to the Sound Affects tour.

“But Russ heard about Mike and he’s just great – he fits the bill and is the closest thing to Rick in his style of drumming we’ve ever had. It’s working really well, he came to Australia with us last year, and we’ve kept him on since. He’s got a lot of detail in his drumming, as Rick has.”

Park Life: Nine Below Zero (Photo: http://www.ninebelowzero.com/)

Park Life: Nine Below Zero (Photo: http://www.ninebelowzero.com/)

Support at Colne in Lancashire next weekend comes from stalwart blues outfit Nine Below Zero. Is there a good camaraderie between the bands?

“Yeah, they’re no spring chickens either, they’ve been round the block – like I have. They’re no prima donnas either, excellent at what they do, very talented, and gentlemen as well. When we’re backstage, it’s a real nice friendship and vibe. I’m really happy they’re our special guests. It promises to be a great night out.”

Bruce goes back a long way with lead singer Dennis Greaves – who also fronted ‘80s outfit The Truth – and Nine Below Zero are enjoying something of an r’n’b resurgence,  thanks to younger acts like The Strypes and older hands like Wilko Johnson.

Meanwhile, there’s plenty of fresh interest in late-‘70s new wave bands judging by Squeeze’s 2015 comeback and continued live success for From The Jam and fellow Surrey outfit The Stranglers.

“Yeah, you can’t get shot of us, can you!”

True, and recently From The Jam played Manchester Academy alongside two more of my favourite old bands, The Undertones and The Beat.

“Yeah – that was good!”

Jam Session: Russell and Bruce in action at Cardiff Tramshed, December 2015 (Photo: Warren Meadows)

Jam Session: Russell and Bruce in action at Cardiff Tramshed, December 2015 (Photo: Warren Meadows)

It’s a fair step-up from the dreaded tribute circuit, I put to Bruce, leading to a typically-deadpan response.

“Yeah … I never understood that anyway. I can’t be a tribute to myself! I mean, how great am I? But it’s come on unbelievably since we embarked on it all.

“I think that’s testament to how hard we work and at such a high level. We’re very passionate about those Jam songs and want to perform them to the best of our ability, and I think we do that. The crowds appreciate that, and the numbers are getting bigger and bigger in most towns.”

Back to the new album – explain the title, Smash the Clock.

“Well, it’s a song title, and the outline is that good music is timeless. That sums it up really.”

Is it mostly Russell’s lyrics or both of you this time around?

“It’s probably 75/25.”

Prime Exhibit: Somerset House played host to last summer's Nice Time Inc Productions-supported exhibition

Prime Exhibit: Somerset House played host to last summer’s Nice Time Inc Productions-supported exhibition

Last year was a big one for Bruce’s old band, with a celebratory summer exhibition at Somerset House in London, The Jam: About the Young Idea, attracting large numbers.

“It was unbelievable, and lovely to see people like Barry Cain, who was at Record Mirror all those years ago and was a good friend of my first wife. There was also Paul Cook of the Pistols, and the actor, Martin Freeman. I didn’t realise he was such a big fan.

“More importantly, there was the chance to hang out with Paul, and his sister Nicky again. And I went back a few weeks later, met up with Paul and had a late morning walking around Somerset House, which was a lot calmer.

“It was nice to hang out. Our friendship is as strong as ever. I was very impressed with the actual exhibition too, seeing a lot I hadn’t seen at all or not for many years.”

Rick's Side: That's entertainment, the Rick Buckler autobiography, went down well with Jam fans in 2015

Rick’s Side: That’s Entertainment: My Life in The Jam (Omnibus Press, 2015)

As it happens, Rick Buckler was also there – although not at the same time as Bruce and Paul – just a couple of months after publishing his autobiography, That’s Entertainment: My Life in The Jam. Has Bruce read his book?

“I haven’t, but not for any reason. I just haven’t got around to it, and haven’t got a copy. But I’ve always wished him all the best.”

When I spoke to Rick last April he seemed keen to put any past disputes – mostly those played through the press, I might add – behind you all.

“That’s good, but if he really wanted to, he should have come to the preview! That was probably the last chance to get all three of us together for something.

“I was just disappointed he wasn’t there. If you want to let bygones be bygones, that would have been a good time. I haven’t any gripe with Rick. I don’t know about Paul. Either way, it wouldn’t have been brought up at a premiere of that exhibition. It would have been nice to see him and say hello. But the book did really well for him, and I wish him all the best with whatever he’s up to next.”

I should add at this stage that I’ve since understood that Rick was unavailable at such short notice for the preview event, not least as he was doing an In the Crowd fan event just across the river from Somerset House at The Roxy that evening. I also understand that he was ‘gutted’ to miss out. Hopefully though, the three of them will get ‘back in the room’ again one day, even if a performance is extremely unlikely, perhaps rightly so at this stage.

Finally, I put it to Bruce that next March will mark the 35th anniversary of The Jam’s final studio album, The Gift. All being well, will that also inspire a special commemorative tour?

“Yes, like you say, all being well. I haven’t got any wish to hang up the bass guitar as yet. You never know what’s around the corner, but God willing, and all that, I’ll keep going as long as I can, as long as I enjoy it and people still want to keep coming to see us.”

Clocking On: Bruce Foxton, with From The Jam, Cardiff Tramshed, December 2015 (Photo: Warren Meadows)

Clock Work: Bruce Foxton, with From The Jam, Cardiff Tramshed, December 2015 (Photo: Warren Meadows)

From The Jam and Nine Below Zero play the Muni Theatre, Colne, on Saturday, January 30 (doors 7.30pm, £20 advance, £23 on the night). For tickets call 01282 661234 or head to http://www.themuni.co.uk/.  

For details of all the other forthcoming From The Jam shows, head to the band’s Facebook page here, and to  find out more about Bruce’s new album, Smash the Clock, try here. 

This is just the latest Jam-related feature on this blog, with links to the previous ones here:

Super Sonik flight with Weller … again (April 20th, 2012)

Back (on the phone) with Bruce Foxton (May 31st, 2013)

Bruce Foxton (Back in the Room) – a writewyattuk review (May 31st, 2013)

Sound affects on a midsummer’s night (June 22nd, 2013)

Weller’s ever-changing mode (October 13th, 2013)

Where did it all go right? In conversation with Russell Hastings (May 3rd, 2014)

When Setting Sons rise again – the Bruce Foxton and From The Jam update (October 3rd, 2014)

From The Jam/Deadwood Dog – Preston 53 Degrees (October 12th, 2014)

Time for Truth – the Rick Buckler interview (April 2nd, 2015)

Posted in Books Films, TV & Radio, Music | Tagged , , , , , , , , , , , , , , , , , , , , | 12 Comments

The Thing About Jellyfish by Ali Benjamin – a writewyattuk book review

9781447283836Some books have you hooked from the start, and the debut novel from Ali Benjamin offers a prime example … even if the last thing I reckon I’d want on the end of a hook would be a jellyfish.

The title certainly reeled me in, and while this reader never had any great hankering to study marine biology, perhaps that’s because I never had an inspirational science teacher to fully engage me in the subject – like Mrs Turton in The Thing About Jellyfish. More to the point, on this evidence I’d say the author has similar qualities, with an ability to tidily translate her way with words into accessible children’s fiction us adults can appreciate too.

The scientific approach to a novel has largely passed me by before now, but Ali’s approach offers us fresh perspective. It also helps when you can truly identify with a character, and from the off I felt I knew and largely understood Suzy Swanson, a likeable 12-year-old coming to terms with the sudden death of her best friend, Franny Jackson.

We might soon question Suzy’s real motive in doubting the official verdict on strong swimmer Franny’s drowning on holiday in Maryland, but not once does she lose us as we follow her more logical approach to understanding the tragedy – unwilling to accept ‘sometimes things just happen’ and trying to piece together events the only way she feels she can – via the power of learning and research.

It’s a school trip to an aquarium that puts her on the road to what she sees as a more feasible explanation, even if we soon realise that’s not the whole story for a girl desperate to turn the page and get through the Eugene Field Memorial Middle School. What’s more, we have an exclusive peak into Suzy’s thought process, seeing as she’s opted for selective mutism, vowing to keep herself to herself and enter a pledge of silence until she has something concrete to share.

Suzy’s tale is told to some extent in the format of a science lab report, but we get to read between the lines as she aims to make sense of it all, immersing herself into extra-curricular studies to find the evidence that will convince everyone what she feels really happened out there in the water – however unlikely her theory might seem.

Science Fiction: Ali Benjamin certainly reels us in with The Thing About Jellyfish

Science Fiction: Ali Benjamin certainly reels us in with The Thing About Jellyfish

It’s as much a tale of how friendships change as we grow apart and are drawn to others though – the politics of the playground. Don’t think for a minute it’s a girls’ book either. Dedicated to ‘curious kids everywhere’, It should resonate with all readers who have been that age or thereabouts at some stage, irrespective of gender. It’s quirky too, and despite the dark premise there’s humour and plenty of warmth on offer down in South Grove, Massachusetts.

As Suzy aims to prove the interconnectedness (is that even a word?) of all those telling factors, she finds potential help via a kindred spirit halfway across the world, a high-profile scientist in Queensland, Australia. Taking that scholarly line, she explores ’cause and effect’ – in this instance how changes to one part of her world can lead others to change, at a time in Suzy’s life when everything seems to be shifting – not least as she copes with her parents’ separation and those troublesome friendship issues.

Meanwhile, a child psychologist who she refers to as ‘Dr Legs’ (‘the doctor I could talk to but would rather not’) does all she can to help Suzy, but Miss Swanson is adamant she’s doing okay on her own, even if that’s likely to involve some mighty big steps.

I won’t go into where she’s heading, but as Mrs Turton tells her pupils, ‘we learn as much from failures as we do from successes’, Suzy getting to redefine her personal relationships while reflecting on just where things went awry with Franny. In so doing, she proves to be someone we can all learn from, wise beyond her years and unclouded in her thinking.

In her author’s note, Ali – a member of the New England Science Writers and a busy working mum who likes to ‘teach kids about storytelling and writing’ – acknowledges others who have gone before her with that scientific approach to understanding the bigger picture. A prime example is Bill Bryson, with Ali giving credence to his explanation of ‘the origins of the universe, the natural history of our planet, and the astonishing fact of our own existence’. There’s a definite correlation there too, and what Bill does for the non-scientifically-minded reader (I’ll include myself in that category) she replicates in the form of engaging children’s fiction.

Like a good teacher, Ali helps us understand not only Suzy and her grief but the wider subject itself, helping us see the world through her main character’s eyes in a relatively easy yet enriching read. In so doing, Ali Benjamin gives science a good name, and word has it that her story is already set to be brought to life by Reese Witherspoon’s production company Pacific Standard Films.

Oh, and I got to learn a fair bit about jellyfish along the way too.

THING ABOUT JELLYFISH_packThe Thing About Jellyfish by Ali Benjamin is published in hardback (Macmillan Children’s Books, £10.99) on March 16th, 2016, available from all good bookstores and various online outlets in the UK. And for more about Ali, head to her website here.

Posted in Books Films, TV & Radio | Tagged , , , , , , , , , , | Leave a comment

Took a long time to come – the Colin Blunstone interview

Seasonal Favourites: The Zombies, with Colin Blunstone, second right, and Rod Argent, second left (Photo copyright: Andrew Eccles)

Seasonal Favourites: The Zombies, with Colin Blunstone, second right, and Rod Argent, second left (Photo copyright: Andrew Eccles)

Some songs provide the soundtrack for key moments of our lives, whenever they were written. And many of those on mine were penned before I was even born, including at least a couple from The Zombies.

I’m not quite sure when I first heard 1964’s She’s Not There, but I’ll just be one of the many who felt that song could have been written for me at some stage in the late ’80s. And while I was a few years longer in the tooth by the time This Will Be Our Year truly resonated, there was a similar effect. Yet the band behind both were initially only around for a short period of the Swinging ‘60s, despite their lasting impact.

While the former track – the band’s Rod Argent-penned debut single – was a hit, they split up within three years, critical acclaim for their second album, 1967’s Odessey and Oracle, coming too late to save them. As it turned out though, a whispering campaign followed, several big names in the world of music coming forward from then on to rave about the influence of the latter.

Believe it or not, lead singer Colin Blunstone went to work for an insurance company after the split, but by the turn of the ‘70s he was back, and 45 years later is touring the world with his own band and The Zombies too – and still refreshingly surprised and thankful for the continued appreciation of his craft out there. The year 2015 certainly brought huge success for Colin’s reformed first band too, with a new Zombies album, Still Got That Hunger, going down well on both sides of the Atlantic.

But let’s go back a bit, asking Colin, based just outside Woking, Surrey these days – barely a mile from my old family haunts in the town – about his first meeting with the band in their hometown, St Albans, Hertfordshire. Does he recall that first jam session – aged 15 – around Easter 1961?

“I do, it was a Saturday morning and we met outside the Blacksmith’s Arms, where there’s now a blue plaque on the wall. I used to play a lot of rugby, and had my nose broken so had two black eyes and strapping across my face. I think I fitted in very well for a Zombies band … although we weren’t called that yet! I think they were hoping I was just passing through – I looked such a state. But eventually the guy I knew turned up as well, and off we went for our first rehearsal.”

Three years later, The Zombies hit the ground running. Did She’s Not There’s immediate success work against you though?

“I’ve often thought about that. You’ve got to be grateful for any success that comes your way, and I’m eternally grateful for She’s Not There. It changed all our lives. But we’d already decided to go professional, and in an ideal world it might have been better if we’d had a year or so learning the ropes. There were parts of the business side we were very naïve about. If we’d had that time it could have helped us cope with that transition.”

R-1411910-1359476444-3550.jpegShe’s Not There is a song you must get lots of feedback about. Your band-mate Rod Argent hit a note of universal resonance there.

“I think so, and very often you find it in people’s top 10 favourite tracks of all time. In terms of airplay though, worldwide, Time of the Season is much more popular. The irony is it was never a hit in this country – perhaps the only country where it wasn’t!”

Time of the Season, from Odessey and Oracle, was the band’s 14th single, and proved a commercial flop on release in 1968. However, a year later it was topping the charts in the USA and Canada. And the love for that second album remains to this day. Furthermore, a key factor in the re-emergence of The Zombies is down to continued critical acclaim for Odessey & Oracle, recorded in the summer of ’67 – just before I was born, I might add …

“I find things like that so strange. It was nearly 50 years ago! It’s hard to get my head around that. But it’s wonderful it has had this recognition. The bizarre thing is that it’s all come after such a long period – I’m not sure if there’s any other album like it in that respect.”

Indeed, and from what I can gather there were pretty much indifferent reviews first time around.

“There were really. Rod will always say there were some good reviews, but there certainly weren’t as many as we were hoping for. We were hoping it was going to be a commercial success. We weren’t thinking along the lines of it being a critical success. And we can certainly say, without doubt, it was not a commercial success!

“Yet two years after the album was finished Time of the Season went to No.1 in Cashbox in America, and No.2 in Billboard. That said, the album still only popped into the Billboard top 100 for one week – reaching No.98 … even with a No.1 record on it! Much of the problem here was that there was no band to promote it, help with marketing and all the things that a live band can do. That certainly didn’t help.

“After that, the whole Odessey and Oracle thing is still a bit of a mystery to me. I don’t think anybody actually understands it. About 10 years after it started to get critical acclaim, one review after another. A lot of big artists started citing The Zombies and particularly that album as a huge influence – people like Tom Petty and more recently Dave Grohl.

“And in this country Paul Weller has been fantastic. He’ll namecheck it as his favourite album, and if he’s out with friends and they haven’t heard it, he’ll go into a shop and buy it for them! He’s been sensational in his support.”

Colin’s not all about The Zombies though, as you might expect from an artist who made his own way soon after, scoring a few hits and recording plenty of revered material of his own. And you can expect only a couple of Zombies songs when he plays three dates in this country next weekend.

81j3tEDL8FL._SL1280_“With the solo band, the emphasis is very much to make the show something quite different, so the most we’ll probably play is a couple of Zombies tracks. But there’s a lot of other material from the last 50 years that are really good songs. And all of them have a very strong connection to me – I’ve either written them or recorded them.”

Despite his major input for The Zombies, it was only from around his first solo album, 1971’s One Year, that Colin started to prove himself as a songwriter for the Epic label.

“That’s true. I did write a couple of songs for the Zombies, but was very much finding my way as a writer. With One Year I had a few songs for the first time under my belt, and that was the case for the first three solo albums, covering Ennismore and Journey too. Since then I’ve always written, although I’m not the most prolific songwriter in the world.”

Did Rod have an influence on you in that respect?

“I think it comes easier to Rod as a world-class keyboard player and musician. I’m very definitely not! I can play guitar, but I’m quite an ordinary player, and think that always limited me a bit in terms of the quantity of songs I’ve written. Originally I was the rhythm guitarist for The Zombies, but we changed things around. Rod was going to be our lead singer when we first got together.”

Is that right that you sold insurance after the band split in 1967?

“Rod and Chris White wrote most of the songs so were in a totally different position to us – Hugh Grundy, Paul Atkinson and myself. We’d been very badly managed. We hadn’t had excessive lifestyles, but at the end of three years had absolutely no money, so all three of us had to get jobs. I phoned an employment agency and they had a job going in an insurance company. I wasn’t selling insurance – I didn’t know enough about it! It was just an office job, and I could have been doing anything.

“For me the sad bit is that the band ended – at the time I was devastated – and that the three of us had to get straight out and get a job. That’s an indictment of the people managing us.”

So remind us why that decision was made to go your separate ways?

“I think there was a general feeling in the band … remembering that it was a very singles-dominated market in those days …”

At this point, Colin seems to be struggling to find the right words.

'60s Survivor: Colin Blunstone

’60s Survivor: Colin Blunstone

“When I look back I blush with embarrassment – the album hadn’t even been released, but after the first single failed to chart there seemed to be a feeling of indifference towards the LP and towards the band. It was only later that we realized. It’s so difficult to imagine the world as it was then in that pre-internet age, but it was very difficult to find out what your records were doing in different parts of the world.

“It was around a year after the band finished that we realised we’d always had a hit record somewhere in the world. In part, this was us being naïve – we should have known that. Also I think we were concentrating too much on the American and the UK charts, but if you have a hit anywhere that’s enough to sustain a career for a couple of years or so.

“With the benefit of hindsight it would have been interesting to see what might have happened next. But there was a feeling in the band that we’d done everything we could do and we’d completed a musical circle, if you like. It was time to move on.”

You mentioned Time of the Season, which still – quite rightly – gets many accolades. But for me I’d mention This Will Be our Year too, which never fails to hit the spot for this scribe.

“It’s a great song, and one I’ve grown to appreciate more in recent years and appreciate how much it means to so many – people have it as their special song or the first song they dance to at their wedding. It was written by Chris White, who wrote more for that album than Rod – another thing I only realised quite recently. Chris was in a particularly rich vein of writing at that time and there are some really cracking songs that both of them wrote on that album.”

For all that, Colin’s not someone to just dwell on the past, and he’s still writing and performing new songs, just like his old band-mates.

“I think that’s what sets The Zombies and my solo project apart – there aren’t many people who started in that era still writing and recording new material. And our most recent album reached Billboard’s top 100!”

You’ve clearly still got a loyal fan-base, and you’ve picked up a lot of support via the recommendation of others over the years.

oneyear“Yes, and that’s true with both bands I feature in. We’ve got people who have followed us from the ’60s, and a new generation coming to see us. I think people are quite surprised when they see the average age at our concerts.”

Moving on to the solo career, is there a solo album you’re particularly proud of and can signpost new fans to, particularly those who have only recently discovered you via The Zombies?

“I’d say One Year is one of the best I’ve done, so I’d point them in that direction. There is another, a bit more obscure, 1995’s Echo Bridge. I’m very fond of that as well, although One Year is often cited as the best introduction to my solo career.”

Listening to One Year again, I can hear a natural progression to what you were doing with Odessey and Oracle in 1967.

“People say it almost seems like it could have been the next Zombies album, and in a way  it almost was The Zombies under a different name – Rod and Chris produced that album and wrote quite a lot of the songs. And where a band is playing it’s Argent, so there are a lot of connections.”

You had a spell living and working in California and recording for Rocket in the 1970s. Did you get to know their label boss, Elton John then?

“We met a few times and had long talks, recording that first album, Planes, with Gus Dudgeon, his producer. The title track was a Bernie Taupin song, which Elton hadn’t released at that point. That was one of the advantages of being on Rocket.

“I did two more albums there, and Rocket was a wonderful company, very artist-orientated. They just wanted to give people an opportunity to do what they wanted to do. It was just unfortunate that I didn’t give them any hits in that period. That’s something I regret. Ironically, after my contract ran out, I had a big hit with Dave Stewart on What Becomes of the Broken-hearted. But that’s how things go sometimes.”

While One Year included Colin’s first top-20 solo hit, the splendid Say You Don’t Mind, written by Denny Laine (of Moody Blues and Wings fame), and 1973 follow-up Epic LP Ennismore included I Don’t Believe in Miracles, penned by Russ Ballard (Argent, Unit 4+2), he failed to trouble the top-40 again until that 1981 surprise hit for Stiff Records.

He’s retained something of a parallel existence ever since, between solo and group works, with The Zombies again and also with the Alan Parsons Project. Does that keep it all fresh?

download (5)“It does. There are a lot of insecurities in the music business, so even sub-consciously I’m thinking if one side of my career goes quiet, I’ve another side I can put the emphasis on until things pick up. Or I could go back to the insurance company!”

Do you think they’d still have you?

“I shouldn’t think so … not now. I don’t think I was very gifted in that market. As soon as I got the opportunity to record again, I was off like … well, like a rocket!”

Dare I ask what became of Neil MacArthur, your 1969 recording studio alter-ego in that period while you contemplated a comeback?

“It’s more of a mystery to me how he ever established himself in the first place! I was approached by Mike Hurst, who produced Cat Stevens’ first two albums and early singles like Matthew and Son, for Deram, a Decca offshoot.

“I loved those tracks so thought it would be great to record again, and did so in the evenings after finishing the office job, because I wasn’t sure – after the disappointment of The Zombies finishing – whether I really wanted to commit to get myself back in the music business.

“Mike suggested I re-record She’s Not There. I don’t really know why. He also suggested changing my name. I was going to be James MacArthur. It was a very casual thing, but at the last minute they realised there was an actor in Hawaii Five-O of that name. So we switched it.

“It was all a bit of an experiment as to whether I had the appetite for it, and I didn’t really think it through. She’s Not There became a small hit again, and for a year I stuck by that name. All a bit strange, to be honest.

“But I remember coming back from a party with Chris White, who was driving, and he suggested, ‘Why don’t you come and record with Rod and I? Forget about all that and record under your own name’. I jumped at that opportunity. And that was the beginning of the One Year project.”

And despite all the big label backing in the past, you’ve not been averse to new ideas, such as getting involved in crowd-funding projects more recently.

Begin_here_decca“The industry has changed out of all recognition, and it’s changing day by day in the last few years, let alone when I started out. You have to try these new ideas, because it’s very hard to stand still in this business. If you’re not moving forwards, you’re going backwards.

“It was very interesting to record with a pledge campaign, and hopefully we’ve kept the people involved informed of everything that’s been going on, including sharing clips of new songs and information about tour dates with ticket preference. It was a way of involving our fan-base in the whole project, with us learning as we went along. And to a large extent it worked, although if we do it again we could certainly do it better.”

So, 45 years on, Colin’s still going strong, with 2015 proving a very busy year. Any particular highlights spring to mind?

“It was certainly fantastic doing the Odessey and Oracle tour in America with Chris and Hugh Grundy, as it was here. We did around 20 dates, with people like Tom Petty and the Heartbreakers coming along.

“Then we had Susanna Hoffs from The Bangles sing with us at our soundcheck, which was fantastic. And a little earlier we played Santa Monica pier to 22,000 people – really wonderful, even more so as all this is totally unexpected.

“I thought our days of touring finished many, many years ago. It’s just grown very naturally since playing six dates together in 1997, when we enjoyed it so much that we just kept going.”

You’re out on the road again, this coming week in the UK then next month in Holland, not so long after getting back from America with The Zombies. Is this how you stay so young?

Colin laughs.

“That’s rather a leading question! I genuinely do think music and performing help keep you young. Music’s a wonderful thing and affects the way you feel. And the way you feel is the way you look. Just being busy and travelling can be self-perpetuating and give you more energy. It’s all a bit of a circle really, and I think it does make you stay young.

“Certainly, if you look at the ages of the people in The Zombies, there are a few of a good age, and they have more energy than most 21-year-olds. I have to say though, with my solo band the average age is considerably lower than for The Zombies!”

Bridge Generations: The Zombies, stateside (Photo copyright: Andrew Eccles)

Bridge Generations: The Zombies, stateside (Photo copyright: Andrew Eccles)

Between all the band and solo engagements, Colin’s a committed family man too, with his wife Suzy 30 years, the couple having a 27-year-old daughter. Has she got a nice voice too?

“She has, and she’s a very good dancer, but she’s in her final year at medical school, so if all goes well she’ll qualify as a doctor this March. That’s very exciting family news for us.”

And while we’re talking medicine, I ask how Colin keeps that great voice of his in shape.

“It’s not for me to say if it’s great or not, but both Rod and I studied with a singing coach a few years ago, learning about technique, and have CDs of singing exercises, which I do twice a day when I’m on the road and a couple of times a week when I’m not. They really help. We recommend that to all singers – at any age, but particularly as you get older. It’s really important to learn those techniques and do those exercises.”

Colin Blunstone is at Wimborne’s Tivoli Theatre (www.tivoliwimborne.co.uk) on Friday, January 22nd, St Helens’ Citadel Arts Centre on Saturday, January 23rd (www.citadel.org.uk) and Skegness’ Rock and Blues Festival on Sunday, January 24th (www.bigweekends.com), before seven dates in Holland in February and a further eight in England from mid-April.

For more details head to www.colinblunstone.co.uk and for the latest from The Zombies head here. 

Posted in Music | Tagged , , , , , , , , , , , , , , , , , , , , , , , | 4 Comments

Remembering Bowie, through Sound and Vision

Lasting Legacy: David Bowie (Image: New York Theatre Workshop)

Lasting Legacy: David Bowie (Image: New York Theatre Workshop)

There’s not a lot I can write here that hasn’t been covered elsewhere, but I couldn’t let the week pass without my own tribute to David Bowie, who left us on Sunday, January 10th, 2016, two days after his 69th birthday.

Not for the first time with something Bowie-related, Monday morning’s news was a huge shock. Who knew about that 18-month battle with cancer? But for all the sadness, we’ll always have his music, the legacy he left us, and all that inspired.

Amazingly, he gave us two return-to-form, typically-inventive albums on the approach to and during his fight with the big C, The Next Day (with this blog’s review of that album here) and Blackstar – his respective 24th and 25th studio albums – and both serve as a fitting epitaph that we just hadn’t seen coming and that we’re only just getting to grips with. But while I don’t feel best placed to review the latter here after just a couple of listens, its gloriously-epic 10-minute title track and the similarly-emotive Lazarus suggest another great addition to a rich canon, and something suitably special to go out on.

For all that though, while Bowie had that power to make us feel like kids in the sweetshop again, snapping up Blackstar on his birthday, there was also a sense of thinking ahead, wondering just what might be in store for his 70th birthday. So it’s hard to take that there won’t be one now.

While I never got a chance to see Bowie in person or on the stage over the years, I’ve got all those great albums and singles to savour, plus the many films, interviews, videos and various clips to delve into, and I revisited a few on the day we learned of his passing. My first call yesterday morning had to be Heroes, his celebration of coming out the other side after those early years of excess. It just seemed right to start there, and I felt more than a little dewy-eyed hearing that colossal track in the circumstances. It’s not the first time it’s got me like that either, and wherever we first chanced upon it, or whatever we relate to the experience, it just seems so timeless … and truly powerful.

As part of a day of commendable coverage on BBC 6 Music capped by recent writewyattuk interviewee’s Mark Radcliffe own tribute show, I was in a similar situation hearing the perennially-beguiling Life on Mars. Despite its other worldly theme, it’s as much about Britain in the early ’70s  as it is about escapism and things universal, and leaves me feeling nostalgic every time. As music writer John Harris put it on the BBC’s Five Years documentary, it’s a song loaded with imagery that’s ‘very mundane yet magical – he’s seen the cosmos in the bus stop’.

81GaOhfPyFL._SL1300_If two emotional moments weren’t enough, it happened again watching the familiar groundbreaking promo footage for Space Oddity during the TV news coverage – a further moment when it sank in that this wasn’t just a bad dream – he’d really gone. Things continued like that for much of the day too, with a few deadlines postponed, coming to terms with it all  …. grieving, I suppose.

The rest of Monday had as its backdrop a Bowie soundtrack, right from the moment my better half broke the news via BBC Radio 5 Live. That included a second listen to the new album, a return to 1971’s Hunky Dory to reacquaint myself with particular favourites such as the Velvets-like raunch of Queen Bitch and the playful, celebratory Kooks, and to generally dip in and out of so many more great tracks across the albums from there on. And even my occasional screen breaks involved getting a wider steer on this sad day from the radio and television.

It would serve no purpose to list every Bowie single and album track I hold dear, but so many have made an impression over the years. It was only two weeks ago that I played the entire 39-track EMI 2002 Best of Bowie two-disc CD during a festive visit to my old Surrey haunts from Lancashire, subjecting my teenage daughters – again – to an important part of my pop heritage via that esteemed back-catalogue. There are so many great moments there, as is the case for 1993’s Bowie The Singles Collection and many more before, stretching back to my first proper introduction to this musical enigma, hearing my brother’s Changesonebowie RCA compilation album in 1976, when I was still in single figures.

From The Laughing Gnome (not on any of those collections, but let’s not forget – in the week we also lost dear Ed ‘Stewpot’ Stewart, of Radio 1’s Junior Choice fame – that was part of my youth too) through to a super-camp Pet Shop Boys remix of Hello Spaceboy, he’s caught us out so many times. And from an early fixation with Anthony Newley right through, he never went for the obvious, and let’s be honest, there were points where it took us a while to get our heads around those new directions. Those risks didn’t always pay off, but I for one won’t pay too much attention to the misses, and you won’t find me going on about Tin Machine … honest.

While he was clearly a chancer – opportunist sounds better, I suppose – in forging his career path in those formative years, there was clearly a genius at work here, with a huge appetite for experimentation (chemical and electronic, for starters) – as confirmed by everyone from early contributor (and another 2015 writewyattuk interviewee) Rick Wakeman through to fellow key collaborators like Mick Ronson, Brian Eno and Robert Fripp.

One of the better examples of catching us out involved his biggest global hit album, 1983’s Let’s Dance. Who would have expected the guy behind 1977’s Low and all that to come up with such a blockbuster? But he did it so well, taking on those soulful touches we first saw on 1975’s Young Americans with expert help from Nile Rodgers, proving the true art of pop – without so much of a hint of Andy Warhol that time. Talking of fellow great artists, he worked with so many more too, from his post-Ziggy success with Mott the Hoople, Iggy Pop and Lou Reed through to Queen and Mick Jagger. And that’s just the more obvious ones. But I’m digressing there.

DavisBowieAladdinSaneBeing the age I am, I can’t put my hand on my heart and point to any defining moment when Bowie changed my life, however fascinating all those stories are, many told again this week (quite splendidly in a few cases (step forward Billy Bragg and recent writewyattuk interviewee former Tom Robinson, among others), nor wax lyrical about the wonder of seeing Ziggy and his Spiders from Mars in person (my mate Jim Wilkinson gave us a nice layman’s view on that last year, with a link here), but that doesn’t mean he didn’t have a great impact on me. It’s just that I’m struggling to pinpoint a specific moment. It’s like he’s always been part of the soundtrack of my life.

It was Space Oddity that first stopped me in my tracks, another moment of opportunism perhaps – latching on to an international hunger for all things Apollo-esque – but one that to this day still sounds so fresh. Yet all I knew about Bowie at first was all I ever heard on Wunnerful Radio 1 or Top of the Pops, or through my sisters and brother and their record collections. Similarly, I can’t honestly recall a specific moment when my old man asked ‘What the hell is that?’ as he pointed at this inspirational gender-bender on our black and white TV set. But chances are that it came during a transmission of Starman or The Jean Genie as this one-off from Brixton and his Hullensian mates Ronson and co. in their big girls’ blouses and space-suits shocked the nation (‘dockers in eyeliner’ is a description I love).

Fast forward a little, and I was certainly aware of the might of the Eno, Fripp and Visconti-augmented Heroes and a fair bit of that era’s material, and remember being genuinely excited by Boys Keep Swinging jumping out of the radio at me on a Cornish holiday in late spring 1979, when I was 11, the first fruits – so to speak – of Lodger, the last of his Berlin trilogy. And as it turned out, DB’s capacity to shock continued right up to this week really.

Having served his apprenticeship in the ’60s via rock’n’roll, r’n’b and his Mod days (and even folk), he translated all that into stardom in the ’70s, inspiring the glam rock era, reinventing soul and shining a light on krautrock along the way. And big changes were around the corner again as we arrived in the next decade, Bowie seeing us into the ’80s in style, courtesy of Scary Monsters and its memorable singles, not least updating Major Tom’s story for Ashes to Ashes, ushering in the Blitz era and spreading the word about that emerging New Romantic world, the die cast for his ultimate pop years and further global success as a video star.

That was an era of contradictions for me as well as him, finding my own feet musically, and while I fully subscribed to Let’s Dance and its finer moments, I wasn’t keen on worshipping a mainstream act. Instead, I concentrated on all I’d missed first time around, this indie kid rediscovering or re-evaluating all those great records. What’s more, I sought out some of the bands that influenced him in the first place and found many more that DB and his peers influenced in turn – the less-commercial, the more street cred, and the industry’s underdogs.

But while it took me a while to return and truly appreciate Bowie again, there were still big moments, from 1984’s Blue Jean to 1986’s Absolute Beginners, the latter adding kudos to a film that unfortunately didn’t work, never living up to the original Colin MacInnes novel. For me – and I know this won’t go down well in certain circles – the music, though pretty much an ’80s take on a late-’50s vibe, worked, not least DB’s title track and contributions from the likes of The Style Council, Working Week, Ray Davies and Sade. Contentious maybe, but Bowie’s main contribution brings a lump to the throat.

As it was, I never drifted too far away, lured back by further discoveries in the catalogue or something like his 1993 contribution to The Buddha of Suburbia. And if there was any remaining doubts over the next two decades as to this icon’s long-term worth they were blown out of the water by The Next Day all those years on – from the moment I first heard the beautifully-poignant Where Are We Now? onwards. And that’s something Black Star appears to build on.

Let’s face it, the Bowie collection is crammed full of genius moments and has plenty to drive the emotions, showing the power of popular music as a positive force. And David Robert Jones has always been there or thereabouts for me, supplying a vital part of the rich soundtrack that has framed my life so far, as he will continue to do. If Bowie’s aim really was, as he suggested in his earlier days, to turn people on to new ideas – a catalyst for ch-ch-changes, you could say – he succeeded in my case and for many more of us.

77-heroes-600b (1)I’ll stop now, or this may become a feature that is never completed, but I’ll sign off by letting on that I’ve just played Lazarus again, and not only do the lyrics jump out at me every time (‘Look up here, I’m in heaven’), but the moment he surges into that chorus the welling-up starts again. It gets better and more heartfelt with every listen. And however hard it is for us to take, it seems that its author and architect is now free … just like that bluebird. RIP David.

Posted in Books Films, TV & Radio, Music | Tagged , , , , , , , , , , , , , , , , , | 3 Comments

Behind the scenes at the Little Theatre

Dramatic Effect: Chorley Little Theatre (Photo copyright http://www.theskinny.co.uk/)

Dramatic Effect: Chorley Little Theatre (Photo copyright http://www.theskinny.co.uk/)

I don’t tend to plug successful local community ventures and thriving venues so much on this blog. But organisations like the Chorley Little Theatre – not far from my doorstep – deserve credit for surviving in these days of austerity measures, not least when we’re losing so many independent concerns and arts funding appears to be drying up.

Besides, this particular Lancashire-based multi-use arts venue ploughs any profits back into the place itself and what goes on there, and it isn’t just a local success story – carving out something of a reputation (at least regionally) on the comedy circuit.

I first visited Chorley Little Theatre in the mid-’90s as a trainee reporter on the newspaper next door, writing stories and features around those involved and – first off, I seem to recall – reviewing an adaptation of Arthur Miller’s A View From the Bridge. While there were elements of ‘local am-dram’, there were some lovely people involved and a fair few could act and direct. What’s more, the theatre was an important asset to the town and borough, even if it needed a little money and a fresh lick of inspiration here and there.

As it was, that’s exactly what happened over the years that followed, thankfully, and while he probably won’t want singling out, one of the prime drivers behind an upturn in fortunes was a local lad, Ian Robinson, the current Chorley Amateur Dramatic and Operatic Society (CADOS) chairman.

A successful 2015 proved that, and from a whole host of high-calibre comedy bookings (perhaps ‘belly-laugh’ is the collective term) to an extensive programme of theatrical productions and film showings, we seem to have another busy 12 months ahead at this striking Dole Lane venue, with Ian – first involved behind the scenes in 1989, aged 14 – and his team of fellow volunteers clearly raring to go.

It was the players’ side of the operation that ruled the roost when I first popped along, and that remains the case, despite that wider reputation in other fields. The theatre also hosts music events (the next involving rock’n’roll regulars DP and the Spectaculars on February 6th), while Chorley Youth Theatre – run by children aged between 11 and 18, guided by CADOS, and on board since 1985 – is about to stage its first production of 2016. And then there’s the Chorley Empire Community Cinema, presenting ‘the cinema experience’ on a ’21-foot wide screen with eight-speaker Surround Sound’, its roots in the Chorley Film Society (part of the operation since 1990). So how does Ian think things have changed in the quarter-century since he was first involved?

“The plays all tended to be set in living rooms or kitchens back then, usually involving a box set, and I just helped out with lighting and set-painting – basically ‘lights up’ at the beginning of an act, and ‘lights down’ at the end. I knew someone who was already involved, so ended up going down, doing a bit, then after college I came back and got involved with the Film Society then with CADOS, becoming chairman in 2009.”

What does that role involve in what seems to be something of a hands-on community operation?

“Well … I do the marketing and the programming, and sometimes a little producing.”

Curtain Call: Ian Robinson faces the public at Chorley Little Theatre (Photo copyright: Chorley Guardian)

Curtain Call: Ian
Robinson faces the public at Chorley Little Theatre (Photo copyright: Chorley Guardian)

Chorley Little Theatre was originally opened as Chorley’s first electric cinema in 1910, and since 1960 has been owned and operated by CADOS, which has put on quality productions for more than 75 years and now presents at least six productions per season (between September and July). All these years on, the theatre’s website suggests the venue is ‘run entirely by volunteers’. Does that suggest there’s still a day-job for Ian too?

“Yes, I’m a freelance designer. I did film and media studies at college, but my main course was graphic design and visual communication, and my main work after that was designing toys. I did that for 10 years, but got a little burnt out and now just freelance around my theatre work … keeping very strange hours!”

I’ve seen evidence of that, one night springing to mind that of Johnny Vegas’ visit in November 2013 alongside locally-based fellow comic Steve Royle (with a review here), the St Helens comic signing his autobiography into the early hours in the Empire Bar. At times like that, I guess it’s handy that Ian lives just a 10-minute walk away. But as a Chorley lad, where did he go to see cinema releases before the Little Theatre took on that mantle?

“The Plaza on Bolton Road. I saw loads of films there. That closed down in 1986, but I saw the whole Star Wars trilogy down there, Back to the Future, Ghostbusters, ET, Bedknobs and Broomsticks, Mary Poppins …”

His hometown lost something important there, didn’t it?

“It did, but it was run down and needed doing up, and unfortunately that year the attendances were at an all–time low. The Film Society started up partly to replicate that, although the remit has always been to bring popular films to the town.”

What would you say was the catalyst for the change that saw the Chorley Little Theatre re-energised and reborn to some extent?

“Part of it was through me as the chairman feeling a bit frustrated at the lack of use of this great facility, thinking we were the only theatre in town so ought to do a bit more to make the town appreciate us. If we were gone, people really would miss us. We saved enough money to work on the roof, but after the work was lined up, they found there were further problems, beyond the allocated budget.

“I felt that not only would we have to put things on to pay for all the work we needed to do, but also  we needed to ensure we weren’t in a position where something disastrous happened then people told us, ‘Oh, I really miss the theatre’. We really needed people behind us.”

Is there still a danger of this lovely old building crumbling around you?

“Not really. The amount of work we’ve done in the last five or six years has seen us go beyond what we could possibly have planned originally. We’ve re-done dressing rooms, toilets, the auditorium … we’ve been able to do so much, with the income coming from putting all the shows on – every penny going back into the building.”

So what’s the next big project needing a cash injection?

“We could do with a bit of work around the front of the building, the foyer for instance. We uncovered stained glass as part of the work five years ago with the word ‘Empire’ on, for instance. But a lot of stuff we did last year involved updating technology within the building, and we’re pretty much state-of-the-art now. We’ve done a lot, and the bar is twice the size it was six years ago.”

The year 2015 proved to be another great year for you. Can you pick out any specific highlights?

“We had more than 23,000 admissions, the most we’ve ever had, and new audiences are finding us. I’m really proud of the plays we’ve put on too, like Our Day Out, Sherlock Holmes: The Final Problem … well, all of them really. They’ve been such good quality.”

One recent event that led to a few famous post-show photo-calls was Bobby Ball’s The Dressing Room, with Cannon and Ball and Kate Robbins among the cast, and Ted Robbins and Peter Kay out front.

“That was great. Such a great atmosphere. It was hard work but worth it. When comedy heroes and people from your childhood come along and treat you as an equal, that’s really nice – things like Peter Kay popping along and saying hello. We’ve also had Andrew Flintoff here. It’s great to tick a few names off my wish-list, like Sarah Millican. I first asked for her around six years ago – no one ever came back to me then.”

Is it fair to say the venue would have closed if not for a little celebrity help on your doorstep, the likes of good friend of this blog Dave Spikey and so on coming forward to do their bit?

“It is. When we had the problem with the building and got in touch with Dave Spikey and Steve Royle and they came along and did shows, that kind of set us on the path, not least having more comedy. That was a great help.”

Lancashire Visitor: Lucy Beaumont visited Chorley Little Theatre with fellow Funny Northern Women Katie Mulgrew and Hayley Ellis

Lancashire Visitor: Lucy Beaumont visited Chorley Little Theatre with fellow Funny Northern Women Katie Mulgrew and Hayley Ellis

You’ve very quickly become a recognised venue on the comedy circuit, not just with the older or current big names like John Bishop, Sarah Millican, Mike Harding, Jo Caulfield, Phil Cool, Justin Moorhouse and Mark Steel but also a number of younger acts on the way up, such as Rob Beckett, Chris Ramsey and recent writewyattuk interviewee Lucy Beaumont.

“We’re really into our comedy. I’ve been to the Edinburgh Fringe for the last 11 years, and as a venue we find it comparatively easy to put on comedy. We don’t have much wing space here, so when we’re making sets for a show we have to do that on the stage, yet a comedian can come on in front of the curtain. It seems to have done well for us.

“It’s fabulous to have big names, but it’s the others coming through too, like Romesh Ranganathan, here in May this year for his fourth visit, while Chris Ramsey has done seven. First time he got 100 people, then you watch him and think, ‘Wow!’ It was the same with Romesh first time we saw him. It’s great that he’s now having such success. He seems to be everywhere at the moment. Rob Beckett was great as well, and Ed Byrne. That was nice to see as well.”

I saw you posting on social media how Rob Beckett shook hands with his entire audience after his recent show.

“Yes, he got off stage and ran around to shake hands and thank everyone for coming as they left the building, which was just amazing. It’s great when people appreciate how lucky they are, and have a good time. We’ll hopefully make them feel at home, and they’ll put on a good show.”

A full house at the venue involves 236 sold-out seats and spaces for three wheelchairs, by the way. And it appears that quite a acts prefer to do more than one night at Dole Lane than play a larger, somewhat less intimate venue.

“Yes, although ideally – long term – we’d like to get a few more seats in and make them comfier. But that would probably mean building a balcony, so is a long way off. At the moment we’re fine and everyone enjoys it as it is, and Chris Ramsey did two gigs here while Jenny Eclair sold out and will be coming back.”

It’s clearly a proper community venture too. With that in mind, I ask Ian how many volunteer helpers and financial backers he has on board, with his response best described as a high-pitched repeat of half of that question.

“’Financial backers?’ Ha! But in terms of volunteers, it changes from show to show, but we probably have around 30 on a weekly basis but up to around 100 for the panto, involved some way or other.”

I spotted a recent social media posting about a couple who left early during the panto because they ‘didn’t expect singing’. I’m guessing Ian’s heard some classic comments over the years.

“There is some weird stuff. We had a bloke who came to see Frozen with his kids, and he sat at the very front for around 20 minutes before the show started and as the screen came down he said, “I wasn’t expecting a film. No one said it was a film!’ He then came to see The Lego Movie the next week, and was similarly surprised. As for the couple who walked out of the panto, I’m not quite sure what they expected. But hopefully they’ll come back and try something else.”

Favourite Venue: Dole Lane's Chorley Little Theatre (Photo: Ian Robinson, Chorley Little Theatre)

Favourite Venue: Dole Lane’s Chorley Little Theatre (Photo: Ian Robinson, Chorley Little Theatre)

Ian’s significant other, Estelle, is part of the volunteer team too. Was theirs a Chorley Little Theatre romance?

“That was a bit weird! We actually met at a Comedy Sports gig, an improv show in Manchester. A mutual friend introduced us … and that was it.”

They certainly both seem to be part of the furniture now … in a good way.

“Yes, but mentioning partners, I think everyone who volunteers here has a long-suffering partner who either gets dragged in or joins the circle to help out, particularly at panto time. But the long-suffering ones have to put up with a lot of problems.”

You already have a lot planned for 2016. What in particular are you most looking forward to?

“There’s a lot going on, but we’re trying not to have too much, as last year was a bit too busy – really hard work. But we’ll have Jason Manford’s Comedy Club on a regular basis, showcasing comedians who won’t normally sell out on their own. Hopefully that will really take off.”

Will that include Jason himself at some point?

“We were hoping so, but he’s busy on Chitty Chitty Bang Bang, so may not be able to pop in. We’ll see. He picks a great line-up anyway – a lot of names that aren’t necessarily on TV but week-in, week-out are very funny. We’re also doing a musical with CADOS, and I’m directing a play in September, so that’ll be fun too. Even the Cannon and Ball play had a director from CADOS, and everything is geared around the plays.

“Now we do the most amazing sets, but still have the same amount of time to turn things around. It is hard work, but we have a great team, working around the clock.”

Stained Class: Chorley Little Theatre's foyer, from the outside

Stained Class: Chorley Little Theatre’s foyer, from the outside

Chorley Youth Theatre’s next play, The Light Burns Blue, runs on Friday, January 15th and Saturday, January 16th, set in 1917 and inspired by the story of the Cottingley Fairies, when Elsie Wright and her sister claimed to have photographed fairies at the bottom of their garden. For ticket details of all Chorley Little Theatre events call the box office on 01257 264362 and for more information head to http://www.chorleylittletheatre.com/

  • This is a revised edition of a feature that first appeared in the Lancashire Evening Post on Thursday, January 7th, 2016. 
  • STOP PRESS: News comes in that Dave Spikey will be joined by fellow Phoenix Nights stars Janice Connolly, Ted Robbins, Steve Royle and comedian Mike Wilkinson for a night of great stand-up comedy at Chorley Little Theatre in a fund-raiser for victims of the Croston floods on Thursday, February 4th (7.30pm – 10pm). All the money raised goes towards a charity set up in Croston to help residents, shops and businesses affected by the recent floods. There will also be a raffle on the night, with prizes donated by local businesses and tickets £20 (available from 10am on Monday, January 11th). For more details head here. 

 

Posted in Books Films, TV & Radio, Comedy & Theatre, Music | Tagged , , , , , , , , , , , , , , , , , , , , , , , | 3 Comments

Learning from the Laughter Master – the Stephen K Amos interview

Master Mirth: Stephen K Amos

Master Mirth: Stephen K Amos

It’s fair to say Stephen Kehinde Amos has seen the world over the past decade or so, this highly-entertaining and likeable comedian charming audiences from Edinburgh to Sydney and several points in between.

And while we’ve all had plenty to feel world-weary about over the last few months – from austerity measures to terrorist atrocities – ‘the maestro of feelgood comedy’ is determined that we should still see the funny side of life too. That’s not to say this 48-year-old London entertainer is one to sweep issues under the carpet, as his ground-breaking work for gay rights in the Black community might suggest. But he is – above all – keen to get us laughing.

According to his latest press release, Stephen is ‘filled with an almost child-like joy and exuberance and can find the funny in some of the most unexpected places’. So come on then, what’s all this ‘laughter master’ business about?

“It’s been such a long time now that I think I’ve earned the right to call myself that. I’m not the orchestra leader, but if you come to my gigs, you will laugh. This show’s an extension of last year’s, taking a look at the confidence you see everywhere around us – maybe due to the huge popularity of social media – where everyone has an opinion and is liable to have a kneejerk reaction or have false stories to respond to and get angry quickly online.

“I’d like to think if you come to one of my shows, we will touch on heavy topics and important issues, but the whole idea is to be funny. That’s why people come to a comedy show. The kind of people that come to my show are on my wavelength anyway, so there’s no point me trying to preach to the converted, because I don’t have the answers. If I can have a funny take on a situation and dissect something, that’s where I’m at.”

Don’t you find yourself getting more political or perhaps more grumpy at the world’s evils as the years pass though?

“I think you’re right. In the early days, it might have been, ‘Look at me – jazz hands! Aren’t I funny!’ But the older and wiser you get, you’re more clued up and know you’ve got a captive audience. And what better platform to talk about things. In the old days, polite society wouldn’t dream of saying the things people say online to complete strangers. The level of abuse for simple things is really astonishing, so I want to remind people that when you go to see a comedy show, with people there of all different cultures and backgrounds and ages, your main bond is that you all want a laugh.”

Stephen released his debut DVD, Find the Funny, six years ago, recorded live Down Under at the Enmore Theatre, Sydney, and within two years was playing a mammoth 75-date third UK tour. By 2010 he had filmed the first BBC2 series of The Stephen K Amos Show and released a second DVD, The Feelgood Factor, and then in 2012 was on his fifth stand-up tour, Laughter Is My Agenda.

12122963_10153307055262991_2994121629273971847_nIn fact, it’s difficult to work out where one tour finishes and the next starts, this latest stint involving 40 shows between November and mid-February, that busy schedule including The Lowry in Salford and the Unity Theatre at Liverpool in late January, my excuse for speaking to him.

“I’ve played The Lowry, many times. I love it there, and because it’s such a fantastic venue they get lots coming through the different spaces within that complex. It’s great, and that whole region captures people from Manchester, from Liverpool, and all the surrounding areas. I’ve never played the Unity before, but when I go out on the road I always try and sneak in a place I’ve never been, just to mix it up.”

And Liverpool did play host to one of his defining gigs in 2007.

“When I did Liverpool’s Empire Theatre for the Royal Variety Show, that was really good fun. The Lowry’s up there with the best too. I think the first time I played it was there in the main room and back then I wasn’t doing any TV, so it was just from reputation alone that we managed to fill that, which was a really good feeling.”

The current dates for The Laughing Master follow more in the UK, Europe, Australia and yet another Edinburgh Fringe. Surely it must sometimes be a case of – to paraphrase the 1969 film – ‘If It’s Tuesday, This Must Be Buxton’.

“It can be like Groundhog Day, when you’re going up the same motorway, and I have to leave South London, where I live, at half past two in the afternoon to account for any traffic I may encounter. If you want me to go on any quiz show and name all the service stations on the M1, I’m your man.”

When you are travelling, is it just you in a car?

“It’s me, a tour manager and sometimes a support act, and we’ve been working together for at least two years so we’re all good mates as well. So the journey is recording itself for a podcast, I think. We all laugh at ridiculous situations.”

TV Times: Stephen K Amos on the box (Photo: BBC)

TV Times: Stephen K Amos on the box (Photo: BBC)

Are you a good passenger?

“I am, but I don’t like personally to travel more than three hours to do a gig. Otherwise it means staying overnight, because driving five hours there and five hours back is very taxing. But I can’t complain. I’m doing a job I really, really like.”

Away from the road, Stephen’s a prolific writer too, somehow fitting all that in besides a new hour-long show every year and touring the world’s festival circuit. But something has to give, and accordingly his acting often takes a back-seat. That said, he’s still managed to fit in appearances on shows such as Celebrity Great British Bake Off Comic Relief, Live At The Apollo and Mock the Week (BBC), Batty Man (Channel 4), and Dave’s One Night Stand (Dave). And then there’s the regular BBC Radio 4 work, including Just A Minute, Out To Lunch, The Big Night In, Life: An Idiot’s Guide and his What Does the K Stand For? show.

There must be moments in all this – while playing Sydney Opera House for instance – when he thinks, ‘This ain’t a bad life’, though.

“Well yeah, thinking back to being a young kid in South London, in my wildest dreams I would never have thought I’d be at one of the most iconic buildings in the world playing a show. I played the Opera House two or three years ago now, so to come back again this year to do that again was like, ‘Wow! Pinch yourself!”

A twice in a lifetime achievement, then. Or is he back in the car and on to the next show straight away, not having the time to properly visit these places?

“People assume that because you go to all these great places you get to take a holiday or see all the sights. But you’re there to work really and you’re kind of in and out. But when I go to Australia I’ll try and do a month in Melbourne and one or two weeks in Sydney and the same in Brisbane, and that’s nice, getting the odd day off. When you tour the UK, generally, it’s a different city or town every night. And I like my bed … when there’s nobody else in it.”

And you’ve played the Edinburgh Fringe festival every year since 2003, having debuted there two years before.

“This is the one time in a comic’s career that you can do an hour’s show in front of a comedy-savvie audience for people from around the world, at arguably the biggest arts festival in the world.”

Write Stuff: Stephen's 2012 autobiography

Write Stuff: Stephen’s 2012 autobiography

Do you tend to use that show as the basis for all those that follow?

“I do now. In the early days I would work up a show to debut at Edinburgh, doing it every night, tweak the material, introduce new bits, drop what you think isn’t working particularly well. And this year we did a talk show in the daytime a few times and it keeps you very busy, and you get extra spots later in the evening.”

This current tour is set to finish at Hackney Empire on February 13. Was that a venue you knew as a kid?

“No, I’m a South-West London guy, and my parents weren’t the kind of people to take us to the theatre or to see anything. But it’s a venue I now know very well. Last year I did a little run in the West End but this year I’ve decided to go to the Hackney Empire to finish the tour.”

As much as you enjoy it all, I’m guessing you’re looking forward to a rest in mid-February.

“You’d think so, but like I did this year, probably the next day or the day after I’ll be on a plane and either going to America or Australia!”

Something got to give with all this, and it’s been a while since I spotted you on TV. Any plans for a new series of The Stephen K Amos Show (BBC2), five years on?

“Never say never, I’m always in talks, and I’ve a couple of radio shows in development for TV transfer, but as you know there are lots of BBC cuts, and everyone says digital is where it’s at, so go online. When I started there were far fewer comics than there are now. So you’ve got to be really kind of seen to be doing things on live circuits so people don’t forget who you are, and I’ve got a big radio presence, and I’m still here if you want to call me!”

How well did your autobiography, I Used To Say My Mother Was Shirley Bassey – your 2012 memoir of ‘a life fitting in, standing out, and (almost) always laughing – go down?

“Let’s just say I did a show a few weeks ago where a young lady in the audience mentioned how the book was used in her A-level English Literature class, which I had no idea about. That was just mind-blowing. And people have commented on it and sent nice messages about the book. If people like what I do, that’s great.”

It also led to your radio show. So how much of your upbringing was reflected in that series?

“The first series was very much semi-autobiographical so very much based on the truth, but we don’t have as many siblings as I do. We did take some comedic license on certain things.”

Special K: Stephen K Amos

Special K: Stephen K Amos

As one of eight children, I’m guessing the Amos family reunions are big affairs.

“They are big affairs … and that’s why I try to avoid them at all costs.”

You’ve stayed pretty close to your family roots though.

“Yes, I’ve lived most of my life in South West London, and I’ve seen my old street regenerate. We’ve now got Starbuck’s, and an independent pram shop – that’s how my old place has now become gentrified!”

I’m sure your role in EastEnders – playing a doctor in 2007 – was a dream. And being involved with the BBC’s prime soap opera is something you have in common with Geoffrey from The Fresh Prince – Joseph Purcell – who you’ve mentioned in your past live shows as someone Americans have mistaken you for in the past.

“Oh, was he? Well. But it never really occurred to me that they’d ask me to become involved in something like EastEnders. That was really out of the box thinking-type casting, and it was great to be asked. And I like to do something that’s so different to my stand-up.”

Was there ever a plan to go down another line through your studies in criminal justice?

“That was the plan! I had no idea starting when I did in stand-up, by pure chance, and doing little gigs to 30 to 50 people, never in a million years did I think it would turn into all this. Back then there was very little stand-up on television. It was all quite new and no one quite knew where it would end. It was just people doing something they really enjoyed.”

Laughter Lines: Stephen K. Amos, coming to a town near you

Laughter Lines: Stephen K. Amos, coming to a town near you

You’ve probably had more of an impact than you might have in that field though, not least through trailblazing for gay rights in the Black community. Has that led to a lot of positive comeback?

“Yes, and if you have that audience and a chance to be in a position to have a voice, you do it! One thing that always amazes me on other people’s social media accounts is when they have to put a disclaimer saying ‘these views are my own’. I don’t have any of that. Nobody’s going to censor me … unless of course I’m doing something for the BBC or any other broadcaster as a sideline. But in terms of when I get out on stage.”

I’ve seen the American comic Richard Pryor mentioned as a big influence. What other comics or actors inspired you to get on a stage in the first place?

“We weren’t really exposed to American comics or actors. In our household it was just people we saw on television who kind of represented us. Lenny Henry was up there, the guys from The Real McCoy … all those people inspired me. Even my next-door neighbour, a musical actress in Cats. They were all people doing stuff that I didn’t think was in any way in my realm of vision.”

Finally, on your website it says, ‘Comfortable as a performer, presenter, actor and guest’, right next to a photo of you in a nice frock. I’ve seen plenty of drama group productions where the boys seem a little over-eager to dress up in drag. Was that your experience?

“I think we all want a bit of escapism, and we’ve all had either an imaginary friend or played imaginary games with friends and brothers and sisters, pretending to be people. I was very active in dramatics at school. But again, I never thought in a million years it would be a career changer.”

Stephen K Amos is at The Lowry in Salford on Sunday, January 24 (8pm, with details from http://www.thelowry.com/) and the Unity Theatre at Liverpool on Tuesday, January 26 (8pm, http://www.unitytheatreliverpool.co.uk/). For more information, and further dates, head to www.stephenkamos.com or follow @stephenkamos on Twitter.

Posted in Books Films, TV & Radio, Comedy & Theatre | Tagged , , , , , , , , , , , , , , , | 1 Comment