writewyattuk

Where past meets present, with a bright future – the Ruth Eastham interview

Posted on May 30, 2014 by writewyattuk

Looking Out: Ruth Eastham by the Adriatic Sea, near her home base in Italy (Photo: Ruth Eastham)

Ruth Eastham prides herself on ‘edgy fiction where past meets present’, with fine examples of her craft in her first three beautifully-observed teen reads, 2011’s The Memory Cage, 2012’s The Messenger Bird, and the recently-published Arrowhead.

In her latest offering, she turns an expert hand to Norse and Viking mythology, telling the tale of Jack, a 13-year-old ‘new kid’ in a Far North Norwegian town, who befriends fellow outsider Skuli, their budding friendship leading to a discovery that could unleash evil on the world.

What could be far-fetched in lesser hands is skilfully told, well-researched and dare I say believable, keeping readers – of all ages – gripped, with Jack and Skuli joined by the similarly-resolute Emma, this ice warrior trio facing a disturbing turn of events.

In a pacy adventure, based on myth and legend, Ruth offers wider themes too, about herd mentality, finding your own way, and that age-old battle between good and evil, with plenty of descriptive detail that suggests an accomplished story-teller.

I caught up with Ruth at her home in the north-east of Italy, near the Slovenian border, and asked what the early reaction’s been to Arrowhead.

“I’ve been really pleased with the response. I was lucky enough to have several writers read and review the book before it was published, and they said really nice things about it.”

Did she immerse yourself in Norse and Viking mythology while writing her latest children’s novel?

“I did quite a bit of background reading, yes! Everyone has a Viking fascination, don’t they? For me, it’s such an intriguing era and the culture is so rich. And we still get swept away in the stories they told, even after a thousand years.

“It took me about nine months to write. Like producing a baby! That’s about the time-frame for my other books too. Everything has to be finished well in advance of the publication date.”

Ruth, whose nine and seven-year-old daughters attend a Slovenian school (with lessons in the Slovene language), is a seasoned traveller, and much of that shows in her books, in this case seen in her portrayal of small-town Norwegian life.

“A journey to Norway a few years ago had a big impact. The epic mountain settings I hiked through helped with the setting. I also visited the awesome blue ice caves of a glacier. That made a strong impression and in the story an ice cave is a pretty important feature.”

Ruth mentions in Arrowhead’s author notes her past trips to Northumberland’s evocative Holy Island too. What is it about that remote coastal setting that fires the imagination?

“Being able to visit the places I’m writing about has always been massively inspiring. Lindisfarne is a very atmospheric place, and there’s something special for me about the way the tide cuts it off from the mainland.

Holy Setting: Lindisfarne Island, from the harbour (Photo: Russ Hamer/http://en.wikipedia.org/)

“The attack at the monastery there in 793AD was so pivotal in our Viking history; it’s where all the negative reputation stemmed from. But apparently Lancashire was quite a hot-spot for Viking settlers. There’s probably quite a few of us in the county with Viking blood in our veins!”

Lancashire-born and bred Ruth lives between Italy and the UK at present, but enjoyed spells in Australia and New Zealand too, and is well travelled in her own country too.

“My first year of teaching was at a village school in the Lake District, not far from Penrith. I was at uni in York. I later taught in Cambridge and Nottingham, so yes, I have lived in a few different places!”

So can we expect books set in Australia, New Zealand or Italy in the near future?

“I’d love to write books centred round these locations, yes. All three countries give loads of scope for ideas. I guess something of the places I’ve visited and lived in always seeps into my stories, one way or the other!”

The Author: Ruth Eastham Photo: M. Paoli)

These days, she splits her time between her writing, teaching and bringing up her children. So how does that work?

“I try to keep my writing hours to a schedule, to fit around my daughters and English teaching that I do. There’s also something special for me about writing in the quiet of the evening – though too many late nights takes its toll after a while!

“I divide my time between Italy and the UK, going backwards and forwards quite often as I do school visits regularly in primary and secondary schools.

“I’ve been back to the Preston schools where I was a pupil. All my family still live there, plus close friends I love to catch up with. I see myself as a Preston girl through and through!”

After college in her home city, Ruth trained as a teacher in Cambridge, but continued with her writing, something she always loved.

“I wrote from an early age. I had some great teachers who inspired me no end, but my main inspiration was my dad, who always read bedtime stories to my two brothers and me as we were growing up. Everything from Enid Blyton to Charles Dickens.

“I think this is where I started to understand the power of story and imagination, and where I got my love of storytelling from.

“I was something of a bookworm when I was growing up! I used local libraries a lot, which is why it’s so sad to hear of cuts and closures that are going on around the country.

“When you live abroad, you can appreciate more the quality and strong tradition of libraries in the UK, and the passion of our wonderful librarians.”

Which of Ruth’s contemporary writers does she admire most?

“I was lucky enough to once have pizza with His Dark Materials author Philip Pullman, share a croissant with Jacqueline Wilson, have Patrick Ness sign my copy of A Monster Calls, and have one of my stories read out by Michael Rosen. Needless to say, these are my writing heroes.

“I really enjoy books with different layers of meaning to them; stories that can be enjoyed by adults, as well as younger readers.

Edgy Fiction: Ruth Eastham

“There can be some wrong assumptions about fiction for younger readers, that the stories lack depth, or are somehow easier to write. Absolutely not! And if you haven’t grabbed your reader by the second page, your book’s doomed.”

Ruth can certainly craft a story judging by her first three published novels, her real depth in character appealing to boys and girls, children and adults.

When writing, does she try to get in the mindset of herself at a specific age?

“Yes, I think it’s very important to try and think in the head of your characters, definitely. The voices of the characters has got to be real, or they just won’t seem authentic.”

“I seem to always have a boy as the main character, but strong, feisty female characters are also important to me: Lia in The Memory Cage, Sasha in The Messenger Bird, and Emma in Arrowhead.

“I have two daughters and wouldn’t want them to think girls keep to the sidelines while the boys are in on all the action! It’s about positive role models.

“Actually, all my books so far have trios of teenagers in them: two boys and a girl. This might have something to do with me being the middle of three children, with brothers either side.”

And after tackling the frozen North this time, Ruth will be heading to warmer climes for her next children’s novel, although again looking at a story with a modern setting but woven in the past.

This time her focus is on Brazil, a country already on the mind for sporting reasons, with a work centred on the search for El Dorado.

But it’s unlikely to be one-dimensional, judging by her previous publications and their multi-stranded plots.

Her first book, The Memory Cage, expertly wove in elements about dementia and old age, adoption, childhood insecurity, family dynamics, small-town issues, the Second World War, pacifism, refugees, and even the Bosnian conflict of the ’90s. Yet somehow she brings all that together.

“I didn’t set out to include certain topics in The Memory Cage; everything happened naturally as part of the writing process. I knew I wanted to explore the theme of memory, and how memory defines who we are. I also knew I wanted both Alex and Grandad to have some secret memory from their pasts that haunted them and they couldn’t talk about.

“Conflict on all levels is a theme in the book, so the World War II setting came to the surface, and then I needed a more modern day war that had affected Alex. This brought the Bosnian War into my mind, and the ideas for the story started to weave together.”

I gather it was part-inspired by Ruth’s spell working in a Romanian orphanage too.

“Readers of a certain age might remember the Anneka Rice appeal back in the ’80s. That was the same orphanage I visited one summer to do voluntary work.

“By then the donated slide in the playground had a jagged tear of metal in it, and the toothbrushes were all gone.

“The bars of the cots referred to in The Memory Cage is an image that came directly from that experience. It was something profound to be there; all at once deeply sad and desperately hopeful.”

There’s also a fair bit of knowledge about photography in that debut novel. And maybe that passion says something about the author’s visual presence on the page.

“Yes, I love photography! I’ve had photos published in the Lonely Planet travel guides, calendars, articles, that kind of thing. If I visit a place that I feel inspired by, the photography is a great way to try and capture the spirit of the place to refer to later.

“When I write I’m quite a visual thinker, imagining the chapters as if they’re scenes from a film. So images, as well as the actual words, have always been important in the writing process for me.”

My eldest daughter (now 14) read The Memory Cage before me, and soon after started asking – rather sensitively – how my Mum was coping at the onset of dementia, not long after my Dad had died following his own dementia issues. I later twigged why she was asking, read it myself, and was impressed with how you tackled the issue. Is that something you have first-hand experience of?

“My grandad (my mum’s dad) had Alzheimer’s, so yes. My other grandad suffered from Parkinson’s disease, which has some of the same symptoms, such as not being able to recognise people. Heartbreaking stuff for the families involved.

“What struck me while writing The Memory Cage is that dementia is such a major issue in our society today; and although mental health issues are talked about more openly nowadays, I unfortunately think a lot of taboos still exist.”

I mentioned in my Arrowhead review – and the same goes for The Memory Cage and The Messenger Bird – how your books would be perfect for lads as well as girls – at a time when there doesn’t seem to be the inspiration for them to read. Is that something you sought to address?

“I didn’t make a conscious decision, but I guess it’s worked out that way! I’ve always felt happy having a boy as the main character in my books. Maybe that will change one day, but having two brothers I suspect might have had a strong influence on me as a writer!”

How do you feel about age restrictions on books? There’s a pretty scary aspect to Arrowhead. I mentioned Nordic Noir and The Wicker Man for young teens in my review – is that fair? And should age classification be down to kids, teachers, librarians, or parents?

“A really interesting question. There’s mixed opinion about this among the writers I know; some are for, some strongly against the idea of labelling books for a particular age group, branding it as restrictive and censoring.

“An age suggestion on the back of the book, such as 12+, could make adults feel more comfortable when buying for children. Some might say that books containing certain subject matter need to carry some kind of warning, and many publishers for young people do this.

“In any case, the cover can often give a strong impression about who the book is aimed at. And a quick look online at reviews for a particular book gives info on its content.

“If you think about it, there’s a pretty scary aspect to Hansel and Gretel – a cannibal witch imprisoning children to fatten up and eat?!

“Then again, is there a difference between books with a more obviously fantasy element, and those dealing with real life? I don’t think the debate is over!”

Does the fact that you teach help you understand what children of a certain age want in a book, and what interests them?

“Well when I was teaching in schools this certainly gave me a great opportunity to absorb myself in books and get a good idea what kinds of stories young people got most excited about. So yes to that question!

“As a teacher of English you also deconstruct others’ stories to look at how they work, in order to then write stories of your own. I think that reading widely is vital for any writer.”

In The Messenger Bird, there’s a Second World War theme again, but this time centred on secrets, inspired by a meeting with a female Bletchley Park veteran.

More is known about that period now, the code-breakers finally recognised for all that top-secret work. Does Ruth think she could have been like Lily Kenley in her book during that era?

“I was lucky enough to meet a marvellous lady called Beryl, who had worked at Bletchley Park when she was 18 years old. In fact, the vast majority of people working at this fantastically important top-secret decoding centre were young women.

“The whole Bletchley Park story fascinates me, and I’ve visited the site several times. Being able to talk to someone who was actually there at the time was a priceless experience.

“What you come to realise, when you get into the whole story, is just how vital the work there was. The intelligence gathered there is thought to have shortened the Second World War by two whole years.”

There’s a subtle anti-war message in Ruth’s first books too, and also an anti-bullying theme that carries into Arrowhead, promoting the value of thinking for yourself rather than going with the herd. I’m guessing there are plenty of causes she would fight for.

“Sure. Wouldn’t we all? Family, friends… the things that really mean something to us. Maybe there’s lots we take for granted in our lives, and it’s only when they’re threatened or lost that we realise their true value.”

While Ruth’s books are definitely action-packed, there’s an educational aspect too, although this accomplished author never patronises her readers. Is that the teacher in her that seeks to educate?

“Maybe, yes! I’m really not aware of teaching anything when I write. All my books are set in the modern day, but the historical back stories – World War II in the first two, and now the Vikings – can give an educational feel.

“For me, it’s the pace and excitement of the story that counts, with meaningful characters you really care about.”

And finally, what is Ruth writing now, and when is her next book likely to be out?

“That El Dorado book I told you about. May 2015. So best get on with writing it!”

The writewyattuk review of Ruth Eastham’s Arrowhead was published on this site on May 7, 2014, with a link here.

The Memory Cage, The Memory Bird and Arrowhead by Ruth Eastham are all available from good bookshops and online.

For more details head to her website at http://www.rutheastham.com/

This is a revised and expanded version of a Malcolm Wyatt feature for the Lancashire Evening Post, first published on May 29, 2014.

Posted in Books Films, TV & Radio | Tagged Arrowhead, Bletchley Park, children's fiction, El Dorado, italy, lancashire, Lonely Planet, Preston, Ruth Eastham, Slovenia, The Memory Cage, The Messenger Bird | Leave a comment

Your town is not dragging Mark Steel down

Posted on May 23, 2014 by writewyattuk

Steel Pulse: Mark Steel’s in a town near you, probably (Photo: https://www.facebook.com/officialmarksteel)

Ever listened to Radio 4’s Mark Steel’s in Town? It comes highly recommended, following the stand-up comic, author, columnist and esteemed travel broadcaster around the UK, talking about often less celebrated areas.

He’s far from patronising too, funny but never pigeon-holing, respectful but never sucking up to his hosts. More to the point, he’s bang on the money in the way that perhaps only an outsider can interpret that bigger picture.

This week alone offered a perfect illustration of what Mark gets up to, in the space of four nights visiting Sudbury in Suffolk, Saltburn-by-the-Sea in North Yorkshire, Millom, Cumbria, then on my own doorstep at the Chorley Little Theatre in Lancashire.

Factor in the fact that he starts and finishes in his native South London, and we’re talking about around 800 miles all in. But he loves it.

“You get into a rhythm. It’s okay, and I quite like a drive after a show, choosing my records to play, then heading off to the next place.

“I like to get to a place early too, to get some kind of sense of where I am. This isn’t really a show I can do by turning up half an hour before.”

Pier Pressure: Mark Steel during his Wigan visit

So might this all work towards another radio series of Mark Steel’s in Town?

“Yeah, they’ve put me down for two more, so this is looking like a lifetime sentence. Funny thing is that usually when you’ve done a show, and done about 100 dates, you get fed up. But it doesn’t really happen with this. It keeps changing.

“Last weekend I was in Coalville, Leicestershire, a very, very working class town, with the winding wheel of the pit right in the middle of the town.

“The next night I was in Saffron Walden, which couldn’t be any more different. Now, if this was a play, you’d say this was too obvious, but as I arrived at the town hall, where I was doing the show, the Conservative Party turned up and set up a stall, giving out leaflets.

“Now they wouldn’t have done that in Coalville. And I just love the fact that every night is so different.”

Isn’t that a bit of a cliché though? As a writer who comes from Guildford, a town always written off as stockbroker belt Tory heartland, but is anything but a Conservative. Besides, Mark’s from Swanley, Kent – where the elected MP is Sevenoaks’ Michael Fallon. Hardly a socialist stronghold.

“Well, that’s true. I don’t think these places are quite as one-dimensional as they’re made out to be. Coalville will have a posh bit, and Saffron Walden will have a working class bit.

“It’s similar with my show in Sudbury. I was on the internet reading up on this quaint little market town, and someone said in a discussion, ‘I’m thinking of moving to Sudbury – is it a good idea?’ Someone replied, ‘Well, it is a lovely place, but whatever you do, don’t move into the Great Cornard area. That’s got a terrible reputation.” And you just think, ‘Really? That’s Harlem, is it?’

So what’s Mark learned about Chorley ahead of his trip to the Lancashire market town?

“For a number of reasons, Chorley shouldn’t be as hard to research as some of the places I visit. First off, my missus comes from Horwich, so I spent a huge amount of time there a while back and know Chorley a bit, not least through cycling over there a few times.

“I did Chorley before with a different show, although I can’t remember what material I did. So I’ve started completely from scratch this time.

“I’m reading A History of Chorley by a bloke called Jim Heyes. In fact, I reckon that once I’ve finished this I will quite possibly be the only person in the world to have read this book twice!”

Pensive Mode: Robin Ince thinks on Mark Steel’s travel advice

I noticed that Mark was offering advice on Chorley to another performer appearing at the Little Theatre recently, Robin Ince, mentioning the Mormon temple.

“Yes, I thought that was quite amusing, given his reputation of being not all that welcome to irrational ideology.”

I’m sure Mark will go down well in Chorley, and will certainly hope for a better reception than he got at Greenwich’s Tunnel Club during his formative stand-up days, involving rowdy Millwall fans. Is that still his waking nightmare?

“Oh dear. Well, it wasn’t a nightmare, because they were fun days, but I was driving past a couple of days ago, and gave a little thought to that experience.

“It was an amazing place. You once heard all the old comics talk about the Glasgow Empire, like Jimmy Edwards or Mike and Bernie Winters, as this notorious venue.

“But I can’t imagine that was any worse than the Tunnel Club. They would just routinely bottle acts.”

Mark’s been doing stand-up for 30 years now. Does he recall clearly those first appearances?

Like Father: Elliot Steel is making a name for himself, just like his Dad

“Well, there were a few first nights, because you ease yourself into it all. The thing is that my son’s doing it now (Elliot Steel), and he’s pretty decent too. So it’s like going through all those days again really.

“In some ways it’s harder, in others it’s easier. They’re not clueless like we were. He started just under a year ago and is already averaging two or three gigs a week.

“When I started I probably averaged one a week, because there weren’t the venues to do, particularly outside London.

“It’s a much more vibrant scene, and he’s part of a little community of comics. That was the case for me, but back then there were about a dozen of us across the whole of London. Now there seem to be thousands.

“It’s much less likely to be mental these days, as people know what they’re doing. When I started, someone would book you, you’d arrive, and no one would really know what comedy was.

“The audience might be mad, the acts might be mad, there might be bands playing in the next room so the audience couldn’t hear you, and maybe a fight going on too – all manner of ridiculous things.

“That became the norm, but you’d all have a laugh about it after. But now you’re more likely to be able to turn up and find it’s all properly organised.”

How does Elliott Steel’s act differ from his dad’s?

“Completely different. It’s all about being 16 and 17. I don’t think I’d get away with that.”

While it’s early days for his son, Mark remains busy between the gig circuit and TV and radio shows, his newspaper columns, and books – having published five so far.

In fact, a performer who felt out of his depth in the early days on Radio 4 and producing copy for The Guardian (and now The Independent) seems quite at home now. Almost a pillar of the establishment, dare I say it.

Even so, some will only really know him for his TV panel show appearances.

“I don’t tend to do too many of those now. Maybe Have I Got News for You once a year. That’s a fun thing to do, and although it’s a little competitive, it’s not about screaming and putting down the person sat next to you, like with some shows.”

Left-wing politics has always featured prominently with Mark, as readers of the excellent Reasons to be Cheerful will know.

He also wrote about past French politics, 1789 and all that, in Vive La Revolution, another literary success.

Pipe Idol: The late, great Tony Benn

His own world view is well known to those who have read his work. So with the passing of Tony Benn this year, are there still politicians out there he respects?

“Oh yeah, all sorts of people. There’s a lad I know, Owen Jones, who’s like a young Tony Benn really, and has his energy as well.

“But I was talking about this the other day. Right into his 70s, even into his 80s, Tony Benn would be doing six things a day, which put me completely in the shade.”

With his next assignment closing in, Mark tries his best – politely – to get me off the line, adding: “I’m going to have to go now, because I’ve got a big pile of stuff to do.”

But he soon feels he’s short-changed me, and gets back to this weekend’s trip to the Red Rose county.

“We can but hope with Chorley. I did actually go to see Chorley FC play Bradford Park Avenue last time I was there. But they lost 1-0 and I think as a result something bad happened.

“I think they went down around then, but did I see they won a match recently about 12-1? I’m not proud of knowing this, but I think it was Droylsden.”

It was 13-1 actually, and I promise to send him details. Meanwhile, he’s just embarrassed for knowing that.

“If I could delete all this bollocks in my head, all these ridiculously pointless facts, I reckon there are about four languages I could have learned, instead of things like remembering every semi-finalist of the World Snooker Championship since 1977.

“Anyway, sadly, from a comic’s point of view it’s not as funny as it would have been if they’d have lost 13-1.”

Mark’s a big sport fan, and regularly watches Crystal Palace FC and Kent CCC.

Did he enjoy Palace’s first season back in the Premier League?

“Magnificent. The best ever!”

And now summer’s on the mind, what are Kent’s chances this season?

“Err … sadly… the last I saw, Kent were 33 for six.”

As it turned out, they lost another wicket on the same score, but survived to at least make it to double figures in their first innings, and reached the final day at Bristol before Gloucestershire secured a pretty conclusive 291-run victory.

So how do Kent’s cricketers’ chances weigh up against England’s footballers in Brazil at the World Cup?

“I think the chances for England are marginally better than Kent coming top of the Second Division. But that’s not a comment on any hope I have for England.”

And what can the dithering punters expect if they turn up on Dole Lane in Chorley to see him this weekend?

“Well, we don’t know until we get there. That’s the brilliant thing about stand-up, and particularly with this show format. Let’s just see what’s in this book that I’ve already read.”

Mark’s Chorley Little Theatre May 24 show was a sell-out, but for details of where else to find his show in the coming weeks, and all the latest from the Steel camp, head to his official website here.

This is a version of a Malcolm Wyatt feature written for the Lancashire Evening Post, published on May 22, 2014. For the original’s on-line version, head here.

Posted in Books Films, TV & Radio, Comedy & Theatre, Football | Tagged Chorley Little Theatre, Coalville, Crystal Palace, Elliot Steel, Greenwich Tunnel Club, guildford, Have I Got News For You, Kent, Mark Steel, Robin Ince, Saffron Walden, Sudbury, Swanley, Tony Benn | 2 Comments

Judy Street refused UK entry, but hoping to return later this year

Posted on May 16, 2014 by writewyattuk

I don’t tend to do breaking news on the writewyattuk blog, but on the morning of Friday, May 16, it was announced that Judy Street – the subject of a feature and interview on this site last Saturday (May 10) – was refused entry to the UK on arrival at Manchester Airport ‘due to an inadequate work permit’ – scuppering a planned five-date visit.

Her promoters posted an update on their Facebook page on the morning of her appearance at Preston’s 53 Degrees, apologising ‘to everyone for this situation, which is out of Judy’s and our control. Judy is devastated.’

They did however add that the regular Preston’s Got Soul event will go ahead – with DJ sets from Russ Winstanley, Glenn Walker-Foster, Gary Hollins, Derek Smith and Glen Miller – although full refunds are available via the promoters or 53 Degrees.

For those still wishing to attend, there’s a £5 reduction on the ticket price if purchased in advance. For full details try here.

The promoter added: “Many apologies from Judy and Preston’s Got Soul. We are hoping to rearrange this event in October and will advise as soon as possible.”

Check via the other venues affected by the cancellation – the Swinley in Wigan (Saturday, May 17), the Minto Hotel in Edinburgh (Friday, May 23), the new Twisted Wheel in Manchester (Sunday, May 25), and Rumworth Hall, Bolton (Friday, May 30) – regarding rearrangements there.

To keep up to date with Judy, head to www.JudyStreetWhat.com.

And for a link to my original Judy Street feature and interview, head here.

Posted in Music | Tagged 53 Degrees, Bolton, Edinburgh, Glenn Walker-Foster, Judy Street, Manchester, Preston's Got Soul, Russ Winstanley, Twisted Wheel, Wigan | Leave a comment

Pass the bass, it’s Evil Blizzard!

Posted on May 10, 2014 by writewyattuk

Blizz Kids: Evil Blizzard (Photo: john Middleham)

When it comes to live entertainment, arthouse shockers Evil Blizzard are in a class of their own, offering a truly theatrical experience, though not one for the faint-hearted.

It’s difficult to explain what they’re all about, but the fact that this alarming six-piece features four bass players and a singing drummer – all scarily masked, with at least two known to wear pink boiler-suits – and are joined on stage by a pig-faced dancer, might give you a few visual clues.

They’re loud too, loud and heavy, and on their last visit to the Ferret in their home city of Preston, Lancashire, all hell broke loose when the fire alarms went off, most punters thinking it all part of the set.

But the Blizz were set to return to the same venue on Saturday, May 10, just the latest in a long line of sell-out performances. And performance is an under-statement.

The band promise far more than just arresting visuals, their debut LP The Dangers of Evil Blizzard receiving rave reviews and plenty of hype from influential quarters.

Last year it emerged that actors Dominic Brunt and Jeff Hordley, better known as Emmerdale’s Paddy Kirk and Cain Dingle, were fans, following the lead of The Fall mastermind Mark E Smith, who has employed them as a support act.

Then there are reports of members of Hawkwind and Southern Death Cult following them, and the invaluable support of Manchester-based music journalist John Robb, founder member of seminal Blackpool punk band The Membranes.

Blizzard Champion: John Robb

What’s more, Goldblade front-man Robb has released their eight-track debut album on his Louder Than War label, while generally going out of his way to sing their praises.

I asked Mark Whiteside, a civil servant in downtown Preston by day, and Evil Blizzard’s singing drummer Side by night, just what the fuss was all about.

“We’ve had several people championing us, but since last year things have progressed, with the album out, reviews coming in, and radio stations playing us.

“John Robb has done a lot for the band, and I don’t think we’d be where we are now without Mark E. Smith – who gave us a bigger audience – and him.

“John does everything he can to spread the word, offering us gigs with his bands, releasing the album, mentioning us in interviews, championing the band from all corners.”

Most of the live reviews have similar reference points, using phrases like ‘jaw-dropping’ and ‘performance art’, describing ‘psychedelic’ and ‘kraut rock’ elements, and comparing the Blizz to the likes of Hawkwind and Public Image Limited.

“I’d say they’re all pretty accurate. Having four bass players has that theatrical theme, and we are unlike most bands around.

“People tend to say they’ve never seen anything like it. The imagery does tend to attract people, and sometimes the stage-show gets reviewed more than the music.

“It is very visual, but once people get over that, the music does come through, and on second reviews people are more likely to realise there’s a strong sound.”

Masked Raid: Evil Blizzard (Photo: John Middleham)

The band describe their sound on their social media pages as ‘Double Doom’.

“Well, I mean, how much more doom can you be? And with four bass players, all playing heavy bass …”

Quite an effect really, and that’s without even mentioning the guy with the pig’s head.

“Well, we don’t think we sound like anybody. John Robb said there’s no band that sound like Evil Blizzard, and that’s good to know.

“We’re a five-piece musically, with the bass players, myself, and our sixth member, Blizz Pig, who I see more as the winder-upper – a pig jester getting people involved.

“Sometimes we have five bass players, but have been known to have six. But we did find getting that live sound on to a record very difficult.”

Blizz Fans: The Fall

The album was recorded by Andy Gibbon at Manchester’s Sunshine Studios, an indirect result of that link with The Fall.

And word has it that The Dangers of Evil Blizzard was put down in just five hours, but then took more than five months to mix.

“True. We recorded it live with a few overdubs, but each song then took quite a long time to get the sound right and mix.”

Style-wise, I can hear Public Image Ltd, while others have mentioned Black Sabbath.

“Vocally there’s a bit of John Lydon and Ozzy Osborne, that kind of sound. But that’s just how I sing.

“John Lydon is one of my favourite singers, and I like Black Sabbath, so don’t mind that. I’d prefer them to be compared to me, of course!”

Brunt Object: Emmerdale actor Dominic Brunt sheds his cuddly veterinary image

Paddy Pants: Emmerdale actor Dominic Brunt takes exception at writewyattuk asking what Seth Armstrong would have made of Evil Blizzard?

The sound and visuals certainly inspired Dominic Brunt, the afore-mentioned actor – also an independent movie-maker – set to film them for a promo project.

“He’s played with us on stage too. He’s really into the band and is scripting something at the moment, filming at the end of May or maybe June at a studio in Leeds with the people who do effects for Dr Who and Harry Potter. It will be more like a mini-movie really.”

Like an alternative Thriller?

“Exactly! A Doom Thriller.”

As well as several sell-out shows, there have been features in Kerrang! and The Guardian’s G2 supplement, which had them as cover stars under the headline ‘The New Wave of New Rage’

Then there were pieces in Classic Rock and various on-line publications, with more to follow in Q and Prog Rock, while the G2 piece has led to some gigs coming up with Sleaford Mods, who were also featured.

The album is also on garish pink vinyl, with rather arresting mutant baby artwork by Hamburg’s Arne Wald, another fan of the band.

“Arne saw us playing with The Fall in London, got in touch, and we have a bit of a tie now, selling his art through our website. He’s also playing with us soon, guesting on bass.”

Another celebrity bass player?

“We do pass the bass a lot, and that’s one of the things that separates us from others. There’s not that boundary. People do get involved.”

Think Pink: Evil Blizzard play it loud (Photo: Richard Nixon)

Evil Blizzard have received a lot of radio airplay too, including support from BBC Radio 6’s Gideon Coe, BBC Radio 2’s Janice Long, and Planet Rock.

In fact, the band members are having the kind of success none of their past projects really enjoyed, despite a degree of indie kudos for Dreamland, Furburger and Baboon.

“We’ve all been in bands before, some fairly successful, but nothing on this scale. But it’s more about art than just being a band this time.

“I think there’s dissatisfaction with the music scene. The majority of stuff you see on telly is pretty bland. People are looking elsewhere to find something more interesting – underground bands, festivals and websites.

“The DIY aspect is back, it’s more like the punk era in a way. People can get their music out there easier, looking outside what can be offered elsewhere.”

The band has take on community projects in their home city too, like the Cinema around the Corner initiative last year, performing on the Harris Steps to a silent horror film backdrop.

“That went well. Again, it was a bit DIY, but we’ve since done something similar in Bristol, playing an old cinema, another sell-out, an improvised set followed by a regular gig.”

Bass Instinct: Evil Blizzard, fully paid-up members of the Bass Players' Union (Photo: Richard Nixon)

Bass Instinct: Evil Blizzard are fully paid-up members of the Bass Players’ Union (Photo: Richard Nixon)

So how many of Mark’s work colleagues realise he becomes singing/drummer Side by night?

“I suppose people are getting more aware of what I do. We’ve all got jobs in the band, including a teacher and another with his own business. But we’re looking to find an agent or promoter to hopefully build things around those jobs.”

Did they always have the masks?

“We played unmasked when we first started, but over time developed the theatrical side.

“Some grown-ups have been known to shy away from the masks, whereas kids seem to accept it. But to appeal to a younger audience is good.

“We have looked at doing a matinee show, and when we played a festival in Oxford last year there were a lot of children who joined us on stage.”

Will pink boiler-suits and pigs’ heads be this year’s fashion musts?

“Possibly, at some festivals, you never know. Watch this space.”

Side Swipe: Evil Blizzard’s singing drummer in action (Photo: Richard Nixon)

The band’s summer highlights are also set to include a trip to London for Islington’s Lexington on May 29, Kendal Calling on August 1 and Blackpool’s Rebellion Festival on August 7.

“Our Manchester show sold us within a week, and Preston sold pretty quickly. Actually, we might look at a bigger Preston event next time – maybe 53 Degrees, possibly a Blizzard Festival with a few other bands.”

But first, it’s that Ferret return. So what exactly did happen last time?

“I think it was down to the fact that we had a lot of smoke from the stage, that seemed to trigger the fire alarm. Or someone hit it. We don’t know, but most people thought it was just part of the show.

”This time we’re going to be doing more of a film projection, so visually it should look quite good.”

And will it be pretty loud?

“I would say loud, yes.”

Ferret Faces: Evil Blizzard are heading back to their home city (Photo: Richard Nixon)

For more details about the band’s forthcoming itinerary, head to http://www.evilblizzard.com/ or their fan page at https://www.facebook.com/groups/108778672481677/

This is a revised edition of a Malcolm Wyatt feature published in the Lancashire Evening Post on May 8. For the original, head here.

Posted in Music | Tagged Arne Wald, Black Sabbath, Dominic Brunt, Emmerdale, Evil Blizzard, Jeff Hordley, John Lydon, John Robb, Mark E Smith, Membranes, Preston, The Dangers of Evil Blizzard, The Fall | 3 Comments

A Northern Soul icon, after all these years – the Judy Street interview

Posted on May 10, 2014 by writewyattuk

Soul Icon: Judy Street (Photo: https://www.facebook.com/JudyStreetWhat)

It’s rather bizarre to think that an artist that recorded just two songs in the late 1960s passed into the rich history of soul music. Yet that’s the case for Judy Street.

OK, so Judy’s story is about so much more than just one sublime 45rpm slice of vinyl, but at the same time it’s all about that single.

I’m talking about a recording for songwriter HB Barnum in late 1968 in California, as this sweet teen – just turned 19 – sang the rather risqué slow-burner You Turn Me On, coupled with the more dance-oriented What, which later caught the imagination as a Wigan Casino revivalist anthem some five years later.

That b-side has never been out of fashion since, and despite the fact that only 1,000 copies were initially pressed, it’s rated among the best Northern Soul songs ever.

What’s perhaps most surprising about this tale, though, is the fact that Judy – based in Nashville, Tennessee, for the past two decades – knew nothing of her fame on this side of the pond until the late 1990s.

It was at that stage, while searching her name on the internet, that she was astounded to learn about What’s cult status via the Napster online music service. But I’ll let her tell that part of the story.

“It blew my mind, and still does. I searched ‘Judy Street’ and ‘What’. In those days you could see emails listed under what you were looking at, and there were about 11 contacts with my record.

“I was thinking, ‘11 people have my record? This is over 40 years ago!’ So I picked a couple of random names and emailed them. I’m thinking that was around 1995/96.”

Ever since, Judy has been playing catch-up, and this week returns to the UK for her latest five-date tour, including star billing on a Preston’s Got Soul show at the University of Central Lancashire’s 53 Degrees venue on Friday, May 16.

There are four other dates, moving on the following night (Saturday, May 17) to The Swinley in the town where her late-found fame came about, Wigan.

Then there’s the Minto Hotel in Edinburgh (Friday, May 23), the new Twisted Wheel club in Manchester (Sunday, May 25), and Rumworth Hall, Bolton (Friday, May 30).

But I’ll go back to the beginning now, having spoken to Judy via the wonders of Skype, our video call bridging a 4,000-plus mile gap between Lancashire and Tennessee.

And give or take a couple of interruptions from errant but loveable one-year-old border collie Wilson, it was a fantastic reception, with the interviewee a pleasure to speak to – always bubbly, always candid.

Judy’s travelled a fair bit over the years – born in Indiana, discovered in Arizona, recorded in California, now in Tennessee.

“You got it.”

Did that go with the territory – being a professional musician, and a musician’s daughter at that?

“Even back then, I travelled with my dad when he was performing, then after that with a band – playing from Bermuda to Hawaii and all in between, across the States.”

Judy explained how there was always music in the house, her father a concert pianist who had studied at Chicago’s Conservatory of Music, while her mother played flute.

Her parents taught music lessons by day, and her dad performed in lounges and concert halls by night.

And in time, Judy had joined her dad on those performances, him playing piano, her singing and playing percussion.

Early Days: Judy with her father in 1959 (Photo: Judy Street)

“Dad was a pop piano player too, playing in clubs and singing songs, like Frank Sinatra tunes. He made his living performing, but his roots were classical.

“Mom played in a marching band, but when her and Dad decided to start their own music school in Phoenix, Arizona, when I was little, he decided she should teach accordion.

“Back in those days that was one of the instruments that was taught, and I played it from when I was about four.

“But while Mom played flute and knew how to read music and could dabble on piano, she had never played accordion.

“So one night, Dad told her he’d scheduled a student for the next day, gave her a book and the instrument, and said ‘learn’.

“The next day she had a student at three o’clock and said she was never as nervous in her life, especially when the girl’s mother walked in with her. Mom had stayed up all night to learn how to play.”

The gambit paid off, and she ended up teaching accordion for many years, as well as piano. And these days her daughter is a music teacher too – tutoring drums and piano.

“I absolutely love it. You see these kids start out with no knowledge of music and see them become piano players or drummers – like centre-snare players in marching bands, and I’m just so thrilled.”

Judy and her husband, Tom Stewart, have four children between them, now in their 20s and 30s, that love of music clearly spanning the generations.

Her youngest son plays trumpet with a local symphony group, while there’s online footage of Judy and Tom singing a Wynonna Judd song with daughter Beth, a powerful song with luscious three-part harmonies.

“Nashville likes country. It’s not my roots, but through the years I’ve sang country songs, and Wynonna is from here and we’ve known her for a while.”

So what do their children think about her late-found fame across the water? I guess they grew up without knowing too much about all that.

“My oldest son went with me to my first tour and show at Blackpool Tower, acting as my manager, helper, and right-hand man. So he was on board before I was, almost.

“He grasped the concept and kept saying ‘Mom, you’re a star’. But I’m just Mom. He loved it, and he’s coming again on this tour. And I’m really excited about that.”

What did your folks listen to when you were growing up?

“My family was old-school conservative. Dad grew up with classical pieces, so I grew up under the grand piano listening to him play.

“Later on, he would have rehearsals with his bands in our home, so I would sit there with an accordion case, forks, spoons or whatever I had, and join in on percussion.

“It was ‘40s jazz like Misty, Tenderly, My Funny Valentine – all those standards Dad played in the clubs. Then there was Frank Sinatra, Nat King Cole …”

And who inspired Judy as a teenage artist? I’ve heard it was early Barbara Streisand and Karen Carpenter.

Early Idol: Barbara Streisand

“Oh yeah, I listened to Barbara. She was brilliant at the time. She was young and she was hip, and I was listening to styles of singers.

“The Karen Carpenter thing came in because she was the drummer, and I was going to gravitate towards playing drums – no matter what. And I did!

“I had my own band and said, ‘hey guys, I’m going to be the drummer! I sat down and played, and they said ‘brilliant, play a Karen Carpenter song!’ It was a natural progression.”

Judy can certainly talk, and I got a bit confused at this stage with the timescale, asking if that was with the Swingin’ Society, the band she toured with across the US – just her and four guys.

“No, it was after that. The Swingin’ Society was right after I recorded What. At that stage I was in California, by myself, and had to make some money, so I auditioned, and they hired me immediately.

“We started working the next day at Disneyland. We’d rise out of the ground, do our 45-minute set, then go back down, coming back an hour later for another 45 minutes.

Swingin’ Cats: Judy on stage with the Swinging’ Society (Photo: judy Street)

“It was a show band, doing show-tunes and big songs of the era, a full-on five-piece. We played from Disneyland to Lake Tahoe’s Harrah’s Casino.

“We travelled two and a half years all across the States, playing real nice venues and places. We were very well liked and worked like crazy. We were exhausted when we finally got a break.”

By that stage, had she thought she’d blown her big chance? She’d recorded just one single and that had supposedly come to nothing. And now she was on the hotel circuit.

“Exactly. You got the picture. Six nights playing, packing up then moving on to the next city on the seventh.

“We did some television spots during the day, featuring the band in town, but there was never a recording situation, although there may be some terrible-quality reel-to-reel or cassettes about somewhere.”

Publicity Shot: Artwork for the Swingin’ Society from 1970 (Photo: Judy Street)

Judy had lost her Dad when she was still at high school, when he was 47. It was clearly a difficult time, but she graduated and moved to Arizona, and it was there that she got her big break.

“I was in Phoenix and playing clubs when this manager came and saw me and told me ‘I’m going to make you a star, little girl, take you to California!’”

That venue was the Holiday Inn, and the manager was actor Conrad Bachmann, a regular on the big and small screen since 1961, his various roles including parts in Mission Impossible, Bedknobs and Broomsticks, Dynasty, Starsky and Hutch … You name it.

While he was no proven music impresario, he certainly saw and heard something in Judy.

“In a short time, I was there and recording in the studio with HB (Barnum). But the music business was foreign to Conrad, and the marketing side fell flat.

“He knew everything about being on the screen, but as far as marketing a record at that time, he just didn’t have the facility.

“That would have been brilliant if it had happened, as we now know – with hindsight.”

Star Status: Conrad Bachmann with Judy in 2011 in Kentucky (Photo: Judy Street)

How soon did it all happen between that initial meeting and her move to California?

“It was fairly quick. I had a contract where I was performing, so finished that, shortly after packing up and driving to California.

“Within a few weeks it was all put together. By the time I was there he had a place for me to stay and had the studio sessions set up.”

Then came her first meeting with HB Barnum, who had an office in Hollywood and had written and arranged for a wealth of big names – from Count Basie to Frank Sinatra, Etta James, Aretha Franklin.

“He knew them all, and knows them all. I got to spend the summer with him before I came to Blackpool in 2012, and sat at his house between recordings and talked.

“He would just blow my mind talking about all the people he knew and the inside of the music scene – who produced the records, who played on them.”

Esteemed Company: Judy with HB Barnum in 2012 (Photo: Judy Street)

But Judy could never have guessed how important that one session with HB would prove.

As it turned out, the sound was just right for what the Northern Soul crowd craved in later times – with Judy’s so soulful yet under-stated voice.

What would her late Dad have thought of this innocent teenager singing You Turn Me On?

“When I was singing that, I was thinking ‘this has not been done before, a young girl singing something a little … what’s the word … risqué? He would have been like ‘Judy! What’re you doing?’ But I knew.”

The a-side was a great song in its own right, so much of its era, and a real grower. I tell her I’m surprised it was never a hit.

“I was too. That was supposed to be the hit. That was what we were marketing, because it was so unique at the time.

“HB wrote both of those songs and they were great. I was just so thrilled at the time to be allowed to sing them. He’d already had a couple of girl singers record versions of What, so I’m sure he knew it was a great song.”

Cult 45: You Turn Me On/What, the original 1968 pressing

The single, released on the Strider label, was recorded with a full orchestra and backing vocalists The Blossoms.

“The Blossoms were three black chick singers who did harmony for a lot of the studio work at that time, and for HB. They were his ‘go to’ singers. He didn’t have to write a chart out for them!’

“Yet I asked him recently about the band and he couldn’t remember who played the session or even where we were.

“He was so busy at the time, and was also the road manager, band director and writer for Gladys Knight for many years.

“He hired the rhythm section, guitar, bass, drums and keyboard – the latter doubling to play the vibes part you hear on What.

“We also had a full-on horn section – with four saxophones – and string section.

“Back then, there were no synthesisers, and I was blown away because I’d never been in that situation and then I walked into this studio and it was massive – gymnasium-size.

“I thought it would be small, like they are now, garage-size – but they needed to be big, with all these players.”

Street Scene: Judy is looking forward to her latest UK tour (Photo: Judy Street)

Did she record anything else while she was there?

“No, that was it. Conrad had booked a 45 session – the two sides – and pressed the records pretty quickly.

“It was some time around September, October, November – I’m not exactly sure.”

Does it still surprise her how much of an impact that song made over here, on generations of Northern Soul lovers? Has she ever analysed just what it was that appealed?

“The actual beat of that record fits so totally into that Northern Soul genre. I didn’t know that then, but do now.

“As far as my voice is concerned, I was so green – I was just this little girl with this vibrato. But I’ve always had this big sound, even though it was thin back then. A little like Petula Clark.

“When I found it was a huge Northern Soul hit, it made total sense to me. And you do realise that everyone thought I was a black chick singer? They thought I came out of Detroit. I guess I had some of that soul sound.”

The picture taken of Judy at the time – a version of which appears on her new Cover Girl CD – is pretty timeless too – with that oh so ‘60s hair and clothes. Totally hip.

“Yep, and everyone wants me to cut my hair short now!”

So will she?

“No”.

Family Favourites: Judy with her husband Tom. Judy is with Oagie, and Tom is holding Wilson (Photo: Judy Street)

Family Favourites: Judy with her husband Tom last Christmas. Judy is with Oagie, and Tom is holding Wilson (Photo: Judy Street)

There’s a clip doing the rounds on the internet of a group of Northern Soul fans dancing in a late night food bar in South Yorkshire to What. Has she seen that?

“I love that! They’re so real, and having the time of their life. I saw that several years ago, and I’ve re-posted it a couple of times on my artist’s page – it’s just so fun! My friends over here think that’s so cool.”

Then there’s the famous Wigan Casino footage to the same song out there too.

“The one where they’re doing the spins and all that has had over a million views, and that blows my mind. That was one of the first videos I saw.

“Kev Roberts – one of the first people I contacted in the UK about my single, sent me one of his books and a couple of knock-off copies of my record, and a copy of one of those films where they used my song for a Northern Soul.

“That was the first time I got to see the full story, and it took a long time for it to sink in.”

Eighties Cover: Soft Cell’s 1982 version of What

Being a little younger – with Judy’s single recorded around the time I was celebrating my first birthday – I admitted that it was Soft Cell’s version of What that I heard first.

“Oh, my gosh!”

That was in 1982, and it was probably another four years after that I caught up on the Northern Soul scene.

So is that right that Judy’s hoping to meet Marc Almond during this UK visit?

“I would love to do that, and I know he would like to meet me too, which is just so much fun.

“I just want to hug his neck, because he did what he did and loved my song, then recorded his version. The controversy over it has been hysterical – it’s been great!”

Gloria Cover: Soft Cell’s breakthrough hit

Was she aware of Gloria Jones’ Tainted Love before Marc’s version?

“Oh yeah! Actually, there was a time I was working in Newport Beach, California, with the partner I sang with, working the clubs, right down there on the beach.

“We were playing a show in this exclusive boating area, when a couple of young English gentlemen came to me on a break and asked, ‘are you the Judy Street?’

“I had no idea how they would know that, or the fact that the record had even been shipped over to England!

“They asked me about What then asked if I knew Marc Almond had a huge hit with it. ‘Who?’ I said. ‘Soft Cell,’ they said. ‘Who?’ I said.

“I can’t remember the date, but if I’d done something about it then, if there had been an internet … but I just dismissed it at the time.

“I just thought, ‘ok, you’re from across the pond and I don’t know what you’re talking about’. Had I followed up on that, maybe called HB …

“Or if someone had called me! They should have let me know! But it just didn’t happen.”

Judy’s more than made up for that time lapse in recent years, and is getting excited about her latest UK tour, and even thinking about her next trip beyond that.

“Well, I’m hoping next year I can do it with a live band, but this time I’ll be singing with my tracks. That’s why I recorded my Cover Girl CD.”

Yes, Judy has been getting some airplay recently, not least through Glenn Walker-Foster, who is among the DJs doing sets at Preston’s 53 Degrees, with her new CD.

A sneak preview showed me it includes her versions of Tainted Love, Frank Wilson’s Do I Love You (Indeed I Do), Long After Tonight Is All Over, Sunny, and much more, including one track written by Judy’s husband Tom.

“Sunny by Bobby Hebb was one of the first songs I sang with my dad, so when I found out it was a Northern Soul cover song, well …

“We also did Long After Tonight Is All Over, because I just fell in love with that song, as I did with It’ll Never Be Over For Me, both brilliant songs, wonderfully written.

“I loved every second singing them. As for Tainted Love – I want to give Marc Almond one of these CDs, it’s just going to blow his mind too!

“He recorded my song, so I’ve recorded his cover of Gloria’s! And we had to start the album with Tainted Love, because … can I say it? It’s just such a kick-ass track!”

That just left me with one more question, concerning word that she’d sold her last 18 copies of the original Strider 45 of You Turn Me On/What.

I guess she regrets that now, judging by the fake crying down the line, before recovering and adding: “Actually, don’t tell anyone, but I did find two after!

“I had carted this box of 45s from California all the way here, and it sat in my closet for 40 years. Then I thought ‘what do I need those for?’

“So I sold them for … are you ready … $50 a piece, which I thought was great at the time. But they sell for over £500 now, I believe.”

Ah well. You can’t change that now, Judy, but just feel proud of the fact that you helped create such a great moment, one that generations of soul fans have appreciated since. And quite rightly.

Thanks to Andrew Kirkham at Preston’s Got Soul, with a link here for tickets and more information.

Appreciation too for background from Steve Handbury’s fine feature with Judy in Manifesto in 2005, reproduced online via thesoulgirl.com, with a link here.

And to keep up to date with Judy, check out www.JudyStreetWhat.com.

* Breaking news from writewyattuk … it appears that Judy – on arrival at Manchester Airport – was ‘refused entry to the UK due to an inadequate work permit’.

Her promoters at Preston’s Got Soul posted an update on their Facebook page just after 9am on the day of her Preston 53 Degrees appearance (May 16), apologising ‘to everyone for this situation, which is out of Judy’s and our control. Judy is devastated.’

They did however add that the Preston event will go ahead – with DJ sets from Russ Winstanley, Glenn Walker-Foster, Gary Hollins, Derek Smith and Glen Miller – although full refunds are available via Preston’s Got Soul or 53 Degrees.

For those still wishing to attend, there’s a £5 reduction on the ticket price if purchased in advance.

The promoter added: “Many apologies from Judy and the Preston’s Got Soul. We are hoping to rearrange this event in October and will advise as soon as possible.”

Please check via the venues for the other four events regarding rearrangements there too.

In the meantime, here’s to Judy’s return to the UK later in the year.

Posted in Music | Tagged 53 Degrees, Bolton, Conrad Bachmann, Edinburgh, HB Barnum, Judy Street, Marc Almond, Northern Soul, Preston, Preston's Got Soul, Soft Cell, Twisted Wheel, Wigan | 3 Comments

Arrowhead points to success for Ruth

Posted on May 7, 2014 by writewyattuk

We often hear about boys of a certain age not engaging with books, but there are several fine authors out there who seem to be addressing that.

There’s a perfect example in Ruth Eastham, with her latest page-turner, Arrowhead, a case in point, so to speak.

Ruth made a fine impression with her first award-winning novels, 2011’s The Memory Cage and 2012’s The Messenger Bird, two brilliantly-observed teen reads that fit neatly into her description of ‘edgy fiction where past meets present’.

I’ll discuss those in greater length soon, with plans afoot to pin this well-travelled Lancashire-born author down for an interview. But this time she’s turned her expert hand to Norse and Viking mythology, with an equal degree of success.

Arrowhead tells the tale of 13-year-old Jack, a ‘new kid’ in a town near the Arctic Circle, originally from the North-East of England but with Norwegian parents.

Like his mum, Jack is struggling to come to terms with his dad’s death, despite the support of Gran and Gramps – who run the local cafe – and his dog, Sno.

Reinventing Myth: Ruth Eastham

Early on, we get a flavour of Jack as he stands up to defend Skuli, a bullied fellow outsider at his school, this short and stocky fisherman’s son singled out as ‘part-troll’ by his peers.

The pair’s budding friendship leads to Jack’s classmate letting him in on a discovery, and one that threatens to unleash evil on the world.

Sounds far-fetched? Well, not with Ruth’s touch, a measured mix of well-researched myths and believable story-telling keeping readers – of all ages – gripped.

When I suggest boys will love this, I should add that Ruth writes equally-believable female characters, and in Arrowhead, Jack and Skuli are joined by similarly-resolute Emma, another reluctant to go with the crowd, keen to find her own path.

There are supernatural and spiritual elements too, real or imagined, as Jack gets to know and understand a boy whose parallel life many centuries before just might hold the key to salvation.

Our ice warrior trio have plenty to stand up to in a disturbing turn of events, amid talk of Odin’s revenge, the four deadly plagues and their effect on this small town, its adults and children.

And while the grown-ups are left lethargic and largely confined to their homes by these odd goings-on, the kids appear increasingly set on mindless violence and destruction, running rampant, standing between our heroes and their quest.

In such a threatening atmosphere, word of sacrificial hangings suggests to this reader The Wicker Man for high school readers. In fact, think Nordic Noir for teens.

There are wider themes too, sub-texts about herd mentality, finding your own way, and that age-old battle for good and the truth. But it’s certainly pacy too.

The author tells in her notes how she was inspired to write Arrowhead by previous Scandinavian travels – her imagination running wild at the thought of melting glaciers in the Land of the Midnight Sun. Equally, past trips to Lindisfarne had an effect, as you might expect from that window on history on the Northumberland coast.

She also paints a vivid picture of a wilderness community that could as easily be imagined to be North America as this tucked-away town in a sheltered bay beneath a mountainous backdrop.

Ruth indirectly tackles global warming too, and brings in the plundered treasures of Viking raids on English monasteries. But this is far more than a historic and mythological epic tackling modern issues.

To work for its target audience, it also has to be an adventure appealing to those with a craving for the extreme.

And she achieves that, providing a well thought-out plot, flowing prose and plenty of descriptive detail, while keeping us feeling part of the story, and believing in her characters’ defining traits.

What’s more, the writing’s often as sharp as the Arrowhead of the title.

Arrowhead is available now from all good bookshops and several online retailers, published by Scholastic and priced £6.99. I dare say there are digital offers out there too. For more details, try Ruth’s website here.

Posted in Books Films, TV & Radio | Tagged Arrowhead, children's fiction, Norway, Ruth Eastham, Scholastic, teenage, The Memory Cage, The Messenger Bird, Vikings | Leave a comment

Carrying on regardless with The South

Posted on May 5, 2014 by writewyattuk

Sweet Refrains: Alison and Dave’s good as gold stage presence (Photo: The South)

It doesn’t seem right getting emotional on hearing Tony Hatch’s Crossroads theme.

I really can’t put my finger on why either, save for nostalgia and the fact that my Nan was the only person I knew who watched that lack-lustre Midlands soap back in the day.

But somehow its powerfully evocative signature tune seems apt for The South, signalling the imminent arrival of this inspirational nine-piece.

In the week The Beautiful South founder Paul Heaton appeared on a BBC sofa plugging his reunion with Jacqui Abbott, I can confirm the rest of the band remain a creative force too, judging by this upstairs sell-out at Preston’s 53 Degrees.

I’m not bothered about comparisons. Paul’s genius and Jacqui’s voice aren’t in doubt, and neither are the credentials of The South – featuring vocal duo Dave Hemingway, Alison Wheeler and much of the former touring band.

From the opening strains of Stick it In and Turn It from impressive new LP Sweet Refrains to From Under The Covers from their debut release 25 years ago, we were off to a committed start.

What also struck, while Hammy seemed to struggle initially, was that Ali perfectly complemented her reluctant front-man, expertly helping split the load.

It’s certainly clear that there remains a true band ethic at play. There’s no ‘I’ in The South. And with nine of them crammed on a relatively-small stage, maybe that was a blessing.

In Step: Tony and Gaz give it what for (Photo: The South)

I could hardly see the percussionist or keyboard player, the bassist, drummer and guitarist seemed happy at the back, and brass pair Gaz and Tony did well to keep in step in a confined space out front with the vocalists.

Yet they all made an aural impact. And what a band. Add to that the songcraft of Heaton and Dave Rotheray on the old songs and Phil Barton (absent tonight) on the new, and you could see we were in for a good ‘un.

Some clearly didn’t know the new songs or more obscure old ones, but there was quality throughout, not least as our vocal duo re-trod their life-affirming 2004 duet on The Zombies’ This Will be Our Year.

They were on safer ground with the sole No.1 A Little Time, its poignant message as strong all these years on, the crowd warming up now and 1994’s Prettiest Eyes going down a storm.

I just wish there was the same intensity for recent stand-out Pigeonhole. But maybe next time they visit it will be rightly lauded.

You can always rely on a few morning-after drinking songs, although we couldn’t quite suss why Hammy was still wearing his coat for 0898‘s Old Red Eyes Is Back.

In fact, he remained togged up to the collar all night, although I never had the front to ask, ‘Are you not stopping, lad?’

While not addressing that, he did comment that the political message of Choke‘s I Think the Answer’s Yes remains relevant all these years on, before bringing us up to speed with Sweet Refrains‘ statement of intent Second Coming, a perfect introduction to the band themselves.

It was different up front, but by then I was getting rattled by the constant chatter from behind, never understanding why people shell out £20 for a ticket then proceed to talk their way through. Then again , my better half suggested that perhaps they hadn’t managed to get a baby-sitter for the previous six years.

The next song at least made one girl behind spark to life, proclaiming in broad Lancashire tones, “Oh my God, I know this one!” as Dave started Song for Whoever.

There were a few back-catalogue surprises too, and I’d forgotten how good We Are Each Other was, a song maybe more akin to the band that preceded, The Housemartins.

North Facing: The view from The South at Preston’s 53 Degrees (Photo: The South)

That went down well, but a bloke down the front had his own suggestion, shouting ’36 Fucking D!’ Hammy told him to wait and mind his manners, instead giving us One Last Love Song. And we all swayed along, searching for long-since discarded lighters.

Next, Ali treated us to sing-along ’30s standard Dream A Little Dream, the full band then back for Pretenders to the Throne, also from 1995.

Having moaned about the incessant talking, I’ll move on to another pet hate – people videoing on their phones, particularly when they block my view. Chances were that their recordings of Rotterdam were shit anyway. They should have just enjoyed the moment and sang along.

The band were on a roll now, and the requested 36D led to one punter throwing a bra on stage. That was followed by Don’t Marry Her, Ali out-sang by her audience when it came to the non-radio version of the chorus.

Thankfully, no lingerie was thrown during Perfect 10, but while that was set to be the last song, Dave had already informed us they were doing away with the expected – carrying on regardless, so to speak.

So the band went straight into Woman in the Wall and You Keep It All In (their rather unsettling join-in choruses suggesting we had a roomful of ne’er-do-wells) before heading off and leaving us with a spring in our step on Good as Gold (Stupid as Mud), a fitting end from the band that refused to lie down.

By all means, go see Paul and Jacqui and snap up their new platter, but equally check out The South, and grab a copy of Sweet Refrains. Quality all round.

For a writewyattuk feature/interview with The South’s Dave Hemingway, head here.

Posted in Music | Tagged 53 Degrees, Alison Wheeler, Crossroads, Dave Hemingway, Dave Rotheray, Gaz Birtles, Jacqui Abbott, Paul Heaton, Preston, Sweet Refrains, The Beautiful South, The South, Tony Robinson | 2 Comments

Where did it all go right? In conversation with From the Jam’s Russell Hastings

Posted on May 3, 2014 by writewyattuk

Going Live: Russ Hastings in live action (Photo copyright: Warren Meadows)

Going Overground: Russ Hastings in live action (Photo copyright: Warren Meadows)

I’ve suggested before now that if I had any problem with Bruce Foxton’s impressive 2012 comeback LP Back in the Room, it was the fact that –despite clearly being a collaborative effort – it only carried his name on the spine.

I understand exactly why he did it. It was Bruce’s name that sold the units, and his profile that was higher. Fair play. Besides, this legendary bassist remains a hero to me – long after I first thrilled to The Jam.

Yet this album was as much about Bruce’s co-writer, From the Jam guitarist/vocalist Russell Hastings. If Back in the Room was a statement of intent reminding us Bruce could still write damn good songs, it was also an affirmation that his creative partner was no karaoke Paul Weller stand-in.

In short, I felt Foxton & Hastings might have been a more accurate band handle, confirming Russ was behind many of the album’s finest moments. Unsurprisingly though, Russ wouldn’t be drawn on that though when I caught up with him recently.

The closest I got was when he mentioned how two of the songs from that album had since made their way into the regular set of From the Jam, the more-than-a-tribute band he helped form with Jam drummer Rick Buckler, Dave Moore and (later) Bruce too.

These days that band involves a core of Russ and Bruce together with a drummer, in recent times alternating between Big Country’s Mark Brzezicki, Weller cohort Tom van Heel and most recent addition Steve ‘Smiley’ Barnard.

Studio Trio: Mark Brzezicki, Bruce Foxton and Russ Hastings during the recording of Back in the Room

Talking about Back in the Room, I mentioned how the first song that hit me was Number Six, which the dad of 15 and 10-year-old boys told me was written about the South Coast house where he brought up his family.

“I live in No.6, where I’m speaking to you at the moment, the house I bought and where my kids grew up.

“It wasn’t supposed to happen like that, but I got the musical project together, bumped into Rick in 2001, it grew from there, and my circumstances changed.

“I’m just about to sell it now, but wrote in that song about the love of the house, which is not something I would normally be sentimental about.

“We’re also playing Drifting Dreams in our acoustic set, which is great as far as I’m concerned. I’d proudly stand by any of those songs.

“Drifting Dreams is again quite personal, about a love affair and dipping into the past and all those emotions that creep up.

“That album also works because of the period in which we wrote those songs. It was a happy time in our lives.

“Bruce had remarried, moved into his new house, and things were going well after all the traumas of the last few years.

“It was approaching summer, and we were left well alone at the studio. It was a magical time though, and Paul would often pop his head in and see how things were going …”

Sonik Driver: Paul Weller

Hang on, did he say Paul? Of course he did, because Back in the Room was recorded at Mr Weller’s Black Barn Studios. And it doesn’t take a genius to hear an unmistakable Weller footprint across the recordings.

“True. He wouldn’t stick his oar in, but would have a listen, say what he liked. And I guess a bit of that rubbed off.”

In fact, I’m led to believe hat anything you can’t work out who’s playing it on the album is probably supplied by Paul.

“Yes. I remember one day Paul was in there with a drumstick on a ride cymbal doing over-crashes, then he picked up the xylophone … the glockenspiel … the tambourine.

“That’s the way he works. He’s pretty mad. I was playing guitar and he was at the piano and would transpose the chords I was playing, like on Coming on Strong, on which he played Hammond organ.”

It sounds like Bruce and Russ had a blast recording, with impressive results. So with all this time on the road, can they fit in any studio time and get the next album out?

“We’re back in there soon, with a shed-load of ideas to put down, having just got back from a holiday together in the Caribbean.”

The Caribbean? This is some job this, isn’t it?

“I took my acoustic with me and we were playing a bit of golf and talking about work but from a different perspective. It was nice to be away, out from under the microscope, what with all the travelling and how busy it gets.

“You see your lives in little blocks of gigs sometimes, and this was a chance to get away from that, on holiday with our families, with time for a laugh and a bit of fun.

“We wrote a couple of new songs too, really uplifting, which capture that summer mood. I like things like that, things that make me smile. Sometimes you need to be cheered up from all of that.”

When it comes to dream jobs, Russ admits he occasionally has trouble getting his head around the fact that he’s truly living the dream.

“Sometimes I have trouble differentiating between me a few years ago, there to see Paul, Bruce and Rick coming out of the Brighton Centre, and now, in a situation where I’m handing Bruce a towel in the back of a boat, or out on a golf course together!

“It’s mental, and so surreal. But I will claim Bruce as my best and dearest friend, and we just have a relationship where I know exactly what he’s thinking at a certain time.”

Having gone from a starry-eyed Jam fan to heading a successful band with Bruce (and previously Rick too), and recording with Paul at his studio, must be pretty special.

I suggested it must be like the famous George Best anecdote involving wads of cash on a hotel bed, champagne, a Miss World, and a waiter asking ‘where did it all go wrong?’

“Exactly! Actually, I have to tell you this. While we were away, I pulled up by jet-ski on this beach, and Bruce pulled up alongside me on the sand and shouted ‘Russ! Where did it all go wrong?’ He’s a man of the people!”

Forging Ahead: Russ Hastings and Bruce Foxton in live action

So had Russ ever envisaged when he formed Jam tribute band, The Gift, that would lead to a chance meeting with Rick and subsequent invite to join forces, later with Bruce too?

“Not at all. But about that time, if someone told me a UFO had landed on the green opposite my road I’d have gone to have a look. You never know what’s around the corner. It’s become so surreal, yet that has become my reality!”

(I’m guessing he means joining forces with his old heroes has become a reality, rather than being beamed up by spaceman from one of those alien craft, to paraphrase Strange Town)

I note From the Jam have a few gigs this year on the wider reunion circuit, among notable ’80s acts. But it’s never been karaoke with Bruce and Russ, has it?

“Definitely not. I don’t know why though. We can’t be too choosy about what comes your way, and I guess each and every one of those acts has their own fan-base.

“Someone commented the other night what it would be like to share the same stage as Jason Donovan. But it doesn’t bother me. I just feel ‘good luck to him’.

“It doesn’t bother me. If people want to come and see us, that’s great. They’re going to have a great time.”

I mention my love of The Undertones, and – although Feargal Sharkey was an integral part of the original five-piece – how it works well with Paul McCloone these days, a new vocalist somehow enriching the band. Is it a similar tale with From the Jam?

“Yeah, that’s exactly the way I look at it. I’m just one of the cogs in the wheel, hoping to play the songs the way they were written, and for Bruce to be able to do his bit.

“He was never a front-man, but played a massive part with The Jam, and the vocals were always double lines with Paul and Bruce.

“Once people got over that in the early days, that was fine. There was nothing where we were trying to hoodwink people.”

Famously, Paul always said no to the idea of reforming The Jam, something most fans accept now. But in Paul’s absence, Russ is a perfect front-man. And at times on Back in the Room it’s difficult to differentiate his vocals from Paul’s.

“Well, I come from the same area and my accent is similar to Paul’s. And I only know one way to sing! I just open my mouth and … talk-sing.”

It’s strange to think The Jam were only together for a decade and enjoyed just five years as recording artists.

But they made a massive impact all around the world (sorry), and continue to do so more than 30 years after their demise.

When Paul quit to form The Style Council – going on to another half-dozen years of hits before a fantastic solo career – it was unfinished business as far as Bruce and Rick were concerned.

Drum Major: Rick Buckler

In time, Rick, Russ and David Moore started The Gift, playing Jam songs, and by 2006 had Bruce in tow and had renamed themselves From the Jam.

Dave and Rick have since moved on, but Russ remains the best of buddies with Bruce, and they’ve a lot of dates coming up this year, alternating between a That’s Entertainment acoustic set and two full band sets, the The Public Gets What the Public Wants tour and the Setting Sons 35th anniversary tour later this year.

We spoke the day after the acoustic tour started in Milton Keynes. So was it a promising opener?

“It was. It’s always a nervous first night, especially with an acoustic tour in sit-down theatres, with people all sat round watching. It’s a very different vibe, and not something myself or Bruce are used to.

“But once you overcome that and realise everyone’s having a really great time, despite not jumping up and down, there’s something civilised about it.

“It’s looking at it at a more adult level, I guess! There’s always a few that get up though, which is always welcome. It was a great night.”

It’s the tour that never stops in one sense, with dates right up to Christmas.

“Absolutely, and we’re lucky we can keep doing that and keep filling places. So I guess we’ll just keep that going as much as we can.”

Sticks Man: Tom van Heel (Photo copyright: Warren Meadows)

Next Generation: Tom van Heel (Photo copyright: Warren Meadows)

After that first night, I asked Russ about Tom van Heel’s involvement (I must admit, I didn’t know about Steve Barnard’s role at the time).

“Tom has played drums with us in the past. He plays with Leah Weller and also Paul. We met ‘young Tom’ down at Paul’s studio in 2011 doing the album.

“He’s one of those likeable guys you meet in life and instantly get on with – a quiet, reserved talented musician who has so many strings to his bow.

“Tom plays great piano, guitar and drums, and he’s a songwriter, with his own band too, Monroze. He offered to join us on the acoustic tour, and we said we’d be delighted. He’s such good fun to be around, and picks things up very quickly.

“Besides, his dad was a big Jam fan, so he grew up on that material. It was second nature to him to hear the songs and understand what it was we were requiring of him.”

It does seem that it’s the next generation coming through now, appreciating the band and that rich back-catalogue.

“I know. That even surprises me. We see people at our gigs who we know weren’t even alive when The Jam split up, yet can be so passionate about the band.

“They understand the lyrics too. And I suppose it gives an understanding of what the politics were all about back then.

“I was asked the other day, when I sing the songs, do I feel the passion the way Paul did at the time. I didn’t want to get into politics there and then on stage, but you can’t help but feel that. I said to my youngest son how political it was around that time.

“I’m 49 this year and grew up through the early ‘70s and remember the power strikes that were going on. It was very extreme from left and right then.”

That politics certainly shines through, yet never seems jingoistic or dated. I share a story of how I recently re-discovered 1982’s The Planner’s Dream Goes Wrong, seeing parallels with housing issues today.

“What a great song, and there are so many. Yesterday, Tom said, ‘how did Paul go about writing songs like When You’re Young when he was only 21 himself?’ I guess that’s where you’re gifted, writing stuff like that.

“Like you say, Planner’s Dream has such incredible lyrics. I was lucky enough to see them do that in a soundcheck at Portsmouth and Brighton in early ’82.

“It’s well advanced, that. You’d really struggle if you were in your mid-40s writing that. I know I would!”

Bass Instinct: Bruce Foxton makes the leap again (Photo copyright: Warren Meadows)

From the Jam have served up a few surprises on tour, with some unexpected song choices and other touches, plus occasional Q&A sessions with the audience.

“There are some good talking points. I’m very familiar with all the stories from over the years, so can steer it form the stage, so we’re open to questions.

“Last night I was asked what it was like when Going Underground went straight in at No.1, and Bruce told how they were in America and John Weller, (Paul’s late dad, the band’s manager) said ‘let’s fly back’. So they all jumped on Concorde!

“Stories like that and everything else make for an interesting evening, and it’s great fun.”

Russ also gets a chance to break down the old songs and try out acoustic versions – inevitably leading to insight from Bruce. That must make him feel like he’s a biographer of the band at times.

“Absolutely. It’s really interesting to do that, and sometimes I think that while Paul was no rocket scientist when he was that age with regards to playing guitar, that’s what makes the songs so magically fantastic.

“His musical genius was in-built, but there’s nothing fancy in there, and the chord structures are pretty straight-forward.

“Something came up in the studio last week, while looking at Life From a Window, which we’re doing live, and I just said ‘where did he call that out from?’ It’s pure genius.

“When we did our In the City tour, we looked back at those early gigs at the 100 Club and The Greyhound, when the band were playing Back In My Arms Again and Slow Down.

“Then you bring that a year on and think ‘is that the same person?’ Just two years before that, they were doing the demos Bruce has since played me, and they were very sweet, very Hollies.”

“So yes, you do get an insight. Around the time of Setting Sons and Sound Affects they would go in and kick a little idea and guitar riff around, and Bruce often tells me how a bass line came about.

“Paul was a young guy at that time and wouldn’t go about anything complicated, but it’s that simplicity that makes it so fantastic.”

So what’s The Public Gets What the Public Wants tour about?

“Those will be with the full band, with a big mixture of the whole catalogue. We’ve been touring an album each year, starting with In The City then All Mod Cons, but this time we’ll pull out a few of the gems that got left off the albums, something from each era.”

Then it will be the Setting Sons tour.

“All Mod Cons, Setting Sons and Sound Affects are my favourite albums, and I can’t decide which one’s best – so it has to be all three of them!”

I suggest that if this album anniversary tour policy carries on, he should get to The Gift then break it to Bruce that he can’t carry on, saying he’s given it lots of thought, and will instead form From The Style Council – just to see Bruce’s reaction.

“Actually, that would be quite a good joke to pull on him. Yes, I might get me coat for that one though!”

Simon Townsend was the special guest on the last tour, the younger brother of The Who legend Peter Townsend proving a gifted singer-songwriter in his own right.

Who’s Who: Simon Townsend has been guesting with the band (Photo: http://www.simontownshend.com/)

“He’s on most of the acoustic dates, opening for us. Simon’s an amazing performer and has a big role with The Who now, playing most of the guitar Pete doesn’t, doing a lot of the vocals as well. He’s also visited the States with Roger (Daltrey), replacing Pete really.

“It’s very much like watching his brother, and Bruce said it’s like being on stage with Pete. Simon’s a really nice guy, and he pulls out a few Who tracks as well.”

Russ also hinted that Simon might join them on stage for a certain cover version. Such covers were an important part of The Jam’s set, and we got talking about Weller’s love of Northern Soul, with a date in Wigan (The Kaff, Friday, May 9) in mind.

“Some of the Northern Soul I love, and I guess my musical taste goes right across the spectrum.

“I’ve no shame in listening to The Best of The Carpenters, appreciating the amazing songwriting ability and the voice of an angel really.

“The older you get the easier it is to admit these things!”

Russ also told a tale about meeting Paul at the Holiday Inn, Fratton, Portsmouth, where he was shown an image of Small Faces on Ready Steady Go and the similarity between Paul’s vocal delivery and Steve Marriott’s.

“I guess it’s that same vocal trait – he’s got that soul that crept into Paul’s voice.”

Early Days: The Jam

That took me on to Russ’ days watching The Jam, telling me his first gig was when he was 12, at the Locarno in Portsmouth in late 1977.

He was there for the last shows in 1982 too, aged 17 – two nights at Wembley, one at Guildford Civic, then the finale at Brighton Centre.

Seeing as I missed out, I attempt to out-do him – the only way I can – asking if he saw Bruce on his Touch Sensitive tour in 1983.

“I didn’t. I really wish I had though.”

I told him how – as a paperboy on a low wage – I wasn’t quick enough to buy tickets for those later Jam shows, but at least got to see Bruce in his shiny suit that following year.

“I know exactly the suit you’re talking about. In fact, I think he’s still got it!”

Is Russ enjoying Paul’s recent output, as he continues to craft great songs, while stretching boundaries.

“That’s a good way of describing his material. There’s some great songs in there, and while we were in the studio Paul played us a couple of tracks, one being The Attic.

“I love to hear what he’s up to, and the great thing about Paul – and he’s said it himself – is he thinks if people like it, great, and if they don’t, so what. He just does his own thing.”

No Look-a-like: Russ Hastings (Photo copyright: Warren Meadows)

Respect Due: Russ Hastings (Photo copyright: Warren Meadows)

Has Paul ever spoken to Russ about From the Jam?

“He hasn’t, but did say it was nice to meet me. Actually, he said, ‘I thought you’d be one of those look-a-likies’. That was a nice thing to say, really.

“I just said ‘no, I’ve a bit more respect than that’. I also told him ‘thanks so much for doing what you’re doing’. And it’s a pleasure to see him and Bruce having a good laugh again.

“He was on his own patch and relaxed. I thought he was very comical, and a decent, nice bloke really.”

Is there still no word between Russ, Bruce and Rick after the latter left From the Jam?

“No one’s heard anything. I know for a fact it was nothing to do with Bruce playing on Paul’s album though. I think it was just a case of differences of opinion over management.

“Me and Bruce didn’t want management, Rick did. Things got heated, as they do in those times.

“I’m hoping one day Rick will see the sense Paul and Bruce did in making up again, because there was never a big fall-out. I have a lot of time for Rick too.”

To look back at a writewyattuk interview with Bruce Foxton from May 31st, 2013, head here.

For this blog’s review of 2012’s Back in the Room, head here, and for a live review of From the Jam at Preston’s 53 Degrees from June 2013, try here.

And for full details of From the Jam dates and other band news, head to their official Facebook page here.

This is a revised and expanded version of a Malcolm Wyatt feature for the Lancashire Evening Post. The online version – published May 1st – is here.

Posted in Music | Tagged Back In The Room, Bruce Foxton, David Moore, From The Jam, Mark Brzezicki, paul weller, Rick Buckler, Russell Hastings, Steve Barnard, The Jam, Tom Van Heel | 5 Comments

The South rises again – the Dave Hemingway interview

Posted on April 27, 2014 by writewyattuk

Cast your mind back, and follow me on a journey to my past, and the last time I got to meet Dave Hemingway.

Unlikely as it seems – to me at least – it’s a quarter of the century since Paul Heaton and his fellow Housemartins bandmate helped launch The Beautiful South.

In June 1989, their debut single, Song for Whoever, became the first of more than 20 top-40 hits for the band, and one of six that made the top-10 over the next 17 years.

I got to interview this freshly-assembled Hull five-piece for my Captains Log fanzine before their third-ever gig, at Aldershot Buzz Club.

It was just two days after the band’s debut Top of the Pops appearance, and turned out to be a pretty raucous night.

Looking back at the end result this week (I’ll try and get it online sometime soon), I was reminded how entertaining the band were, with plenty of surreal segues and inventive answers, not least from front-man Paul (PD).

They were eating their tea backstage while I fired the questions, and then – as I clicked the cassette off – singer and ex-‘Martins singing drummer Dave H and guitarist Dave Rotheray enquired about pubs in the area.

This being Aldershot – with a few pubs in the vicinity we didn’t think it wise to visit, not least as The Sun had made up all sorts of ridiculous, inflammatory stories and untruths about The Housemartins – myself and fellow Malc Smith decided they needed chaperones.

I don’t recall what time we left the West End Centre (home to Jo Bartlett’s Buzz Club), but let’s just say we sank a few pints and had a quality evening while losing all track of time.

Until Dave H clocked the time and announced, “Oh shit! It’s half ten, we’re on in five minutes!”

First Waxing: Welcome To The Beautiful South, from 1989

Needless to say they didn’t know quite where they were, and I can’t say I really did either. But we tore up the road and were soon close enough to hear slow hand-claps from an increasingly fractious sell-out crowd.

We made our way to the side-door, where my interview notes remind me that one of the afore-mentioned Daves asked, in a Spike Milliganesque manner, “Can we come in? We’re the band’. The somewhat shell-shocked female on the door’s reply – after a rather puzzled delay – was “Oh good … we’ve been waiting for you!”

I was laughing so hard at that point that the two Daves and t’other Malc – whose winning graphic art turned my type-written rants into the polished Captain’s Log end result – shot through the gap while I just stood there blankly.

I gave a pretty half-hearted ‘I’m with the band’, but she was – understandably – having none of it, and by now I was sobering up pretty quickly, searching my pockets for a ticket or backstage pass. My library card would have been a start, but panic was setting in, not least under the gaze of the first few rows in the gloom before me, wondering when these Northern prima donnas were finally coming on.

I don’t recall if I did find a ticket or if Jo bailed me out, but I got in, and what followed was a memorable gig, bizarrely ending with a cover of Irene Cara’s cheesy Fame and major instrument trashing (which I felt was a bit passe and far too elitist).

So, back to today, with Dave H speaking to me from his home in Crewe, Cheshire, 25 years later. Does he remember any of that?

“I’d like to day I remember it well…but I don’t.”

I keep going, telling him about the scowl PD gave his missing members on their eventual arrival, and the fact that himself and Mr Rotheray looked rather pie-eyed on stage.

“That was probably the case … we did like a drink or two. Actually … thinking back, Aldershot (he pronounces it Al rather All) … that wasn’t the one where Dave fell off the stage, was it?”

Highly possible. On one fans’ site it simply says: “Jun 10 – Aldershot, Buzz Club -Rotheray exits stage left in trap door travesty. Squabbles, blood, glass (gear smashed up)”.

“Yes, I do remember it … because of that. That was quite a raucous gig. By the sound of it, that might have been the end of something, but turned out to be the start of something!”

Going West: Aldershot’s West End Centre, the scene of that momentous Buzz Club date for The Beautiful South (Photo: http://www.theguide2surrey.com/)

I mentioned again how the door staff weren’t too convinced that he was actually in the band, let alone me.

“That happened a few times, actually, down the years – even when we were successful, at big venues where we had to make our way past security.

“They often couldn’t believe we were in the band, because we were so late turning up.”

I guess that was part of the appeal though – that lads next door feel, and certainly without any superstar status.

“Yeah, definitely. I think if we’d tried to put airs and graces on, we’d soon have been slapped down by each other.”

Yet – I venture to suggest – perhaps it was that laddish element that led to the departure of the band’s first vocalist, Briana Corrigan (who wasn’t on board when I met them).

“That’s fair comment. That must have been hard. I suppose it was for all three females in the band.

“When you get that laddish element, it must be tough being the only female around.”

I won’t go through the whole history here – that’s well enough documented elsewhere – but let’s just say it all ended seven years ago, with Paul going solo and Dave and his fellow band members wondering what was next.

But in time the band resurfaced as a nine-piece, now known as The South, with Dave sharing vocal duties with Alison Wheeler, who was with the band from 2003 to the end.

Alison was the original band’s third female vocalist after Briana, now back in Dublin, and Jacqui Abbott, who is now touring and recording with Paul Heaton again.

Second Chance: Alison Wheeler

Dave explained: “Alison got a bit of a raw deal really. She was with us for the last three albums, but the less successful ones, and never really got a fair crack of the whip.

“The majority of our success was with Briana and Jacqui. Through no fault of her own, Alison didn’t get the success. So it was unfinished business in a way.”

So why the reformation? I’m guessing with the size of the band – most of whom were part of the last touring band – it’s not just to cash in on past success.

“It’s not for the money, that’s for sure! Some of us wanted to continue, and weren’t ready to call it a day.

“Money’s tight in certain respects, but it’s not about that this time around.”

They’re on the road at the moment – with more than 30 gigs between mid-April and September 26th’s visit to Cornwall’s St Ives Festival, including – wait for it – a return to Aldershot West End Centre on June 4th.

And this time they’ll not only be showcasing several old hits but also a few songs from their impressive ‘debut’ album Sweet Refrains.

As well as Dave and Ali, the other mainstays from last time include keyboard player Damon Butcher – who wrote two of the slow-growers on the LP – and horn section Gaz Birtles and Tony Robinson.

And it’s fair to say Sweet Refrains gives a great indication of what you might expect live, from the celebratory comeback feel of opening track Second Coming onwards.

Alongside winning contributions from Gavin Sweeney plus Dowd/Simpson’s mighty If I Laugh, the opener and many of the finer moments are written by guitarist Phil Barton with Ron Westrip – including the wondrously-catchy Pigeonhole, the subtly-soulful Windows, and inspirational closing track Thank You.

Furthermore, there’s a real collective feel on show, not least with the added brass in key places.

“We’ve always toured with a big brass section, and they certainly get a good go on this record and add a bit of oomph to us live.

“They’ve been with us 20 years as a touring band, and that’s the case with all of us, apart from Dave the drummer.”

There’s a case in point. There was Dave H, Dave R and Dave Stead (drums) in the first band, now Dave Anderson on drums this time. Then of course, PD was actually Paul David Heaton. Has it always been part of the remit to have at least a couple of Daves?

“Yeah, that’s what we planned. We wanted to have a whole band of Daves, but it didn’t work out unfortunately.”

So what’s the reaction been to Sweet Refrains after your recent live dates?

“I’m not really sure, but I’m proud of the new album, not least because we’ve had to do it all ourselves, with no record company.

“We’ve had to find the finance, doing it all from day one, including the artwork, things that used to be taken care of that we now have to knuckle down and do ourselves.

Brass Power: The South’s Tony and Gaz in live action

“It was quite a struggle to get it out there. The record business is unrecognisable these days. I preferred it back then, But obviously I’m just an old fogey.”

Will it be a case of all the old hits and more when I come and see you live?

“Yes. We don’t over-do the new material, as people who come and see us want to hear the songs they know, and we’re happy to play them.

“I’ve never been a fan of bands just playing songs from their new album. That’s a bit unfair. You need to get into an album before you hear the songs live.

“With that in mind, we’ll probably do three or four new songs, and others from the back- catalogue.”

What a back-catalogue it is too, from their sole No.1, A Little Time – originally a duet between Dave H and Briana -to fellow big hits like Perfect Ten, Rotterdam, Don’t Marry Her, You Keep It All In, Old Red Eyes Is Back and many more.

This is after all a band whose greatest hits album, Carry On Up The Charts, was one of the fastest-selling albums in UK history, entering at No.1 and staying there for weeks.

And in all, they released 10 studio albums, five hits compilations, 34 chart singles, and sold 15 million records worldwide. So is there anything they’d refuse to play these days?

“Nothing really. Some work better than others, so if they’re not working too well, we’d give them the heave-ho, but we’re capable of playing any of them.”

Do you still look back on the day you got that call from Dave R – then a roadie with The Housemartins – back in early 1987, about taking Hugh Whittaker’s place on drums?

“Yes. That’s the sort of moment that does stick with you, although it was such a long time ago.

“I was in a band in Hull with Dave at the time, The Velvetones, and came home for my tea on a Thursday night. I was watching Mission Impossible when he called me.

“Dave said ‘Stan Cullimore’s going to ring you, because Hugh’s leaving the band and they want you to join. It just sounded like a joke. I had to check it wasn’t April 1^st.

“I’d never spoken to Stan before, and had no idea Hugh was contemplating leaving. They’d just had their first number one with Caravan of Love.

“So you think why would you leave a band? It was all a bit surreal. I didn’t really believe him, and just said ‘OK, Dave. Fair enough. See you later, mate.’

“I put the phone down and 10 minutes later, sure enough, Stan rang. And that was that really.”

He clearly proved a success, and by Christmas was sharing vocals with Paul on Top of the Pops on the hit, Build.

Pops Stars: Dave and Paul on Top of the Pops (BBC)

As it happened, Dave and Hugh went back a few years, and were in the same class at school. And that takes me on to another Housemartins-related anecdote.

It was around that same era as The Beautiful South took off, and I was interviewing another favourite band, Bob, before a gig in North London (another I hope to get online soon), with support that night from impressive Hull outfit The Penny Candles, including Hugh on drums.

It just so happened that I was wearing my There Is Always Something There To Remind Me t-shirt, featuring the school classroom cartoon which accompanied The Housemartins’ last single, including caricatures of Hugh and Dave H.

So while chatting backstage with the Bob bandmates, Hugh came at me – armed only with a pair of drumsticks and an embarrassed grin – to point out which one he was.

“He’s a lovely guy. At school he was a character that stuck out. He was quite eccentric, but very quiet. A decent bloke.”

Meanwhile, Dave H wasn’t the first member of his family to go into that business called show, his Dad having been on the Northern working men’s circuit as a comedian.

“He was. A lorry driver by day, and a stand-up comic by night.”

But he had to keep on that day-job, I believe.

“He had to. He was successful as it went, with a name for himself on the club circuit, but there wasn’t enough to pay the bills.”

Did that change the way Dave felt about the fickle nature of it all? He does seem very grounded.

“The job I had, working in an office, was fine and I was working with good people, but I always wanted to be a musician.

“You can want it all you like but you’re never going to actually be able to make a living out of it and do it full time. Things like that happen few and far between.

“But when the chance came, it wasn’t a wrench to leave my job.”

According to Mike Pattenden’s official biography of the band, Last Orders at the Liars’ Bar (Victor Gollancz, 1999), Dave had to lock himself away and do his homework when he got the job in The Housemartins, learning all the songs.

“Blimey, you’ve done your homework, you, haven’t you? Usually when I do these interviews, people often don’t know anything about us!

“Again, that is totally true, I was told I was in the band, and was given a tape of the new songs, like Me and the Farmer, and told to go away and learn them.

“I locked myself away with a Walkman. That dates it, doesn’t it?”

Not ‘alf. You tell the kids of today that, and …

“”Exactly … they won’t believe you!

“Anyway, the trouble was that The Velvetones were more like a jazz band really, so I was playing slower stuff. Suddenly, playing songs like Happy Hour at 100mph, I was struggling.

Whoever Sings: Paul and Dave H (with Dave R right) tackle Song for Whoever on Top of the Pops 25 years ago (BBC)

“For a good while I was thinking ‘I’ve packed my job in and I can’t play this stuff, it’s too fast for me’. But I stuck at it and worked hard on it, and in the end I was playing too fast, so Norman (Cook) had to tell me to slow down!”

I recall that Paul’s tone at the time that he announced The Beautiful South’s arrival was that he couldn’t have Dave wasted on drums, as he had such a great voice.

“Well, it was nice for him to say so, but it was never my idea, and I didn’t know he had that in mind at all.

“When I was asked to join the Beautiful South, I assumed it was just as the drummer. But then he said, I just want you to sing, which was alien to me.

“I was alright as a drummer, safe behind the kit. Being out front is a different thing.”

While he was clearly up to the task – vocal-wise – he was never really a natural leader, and from around the time of Miaow in 1994 he took more of a back-seat role again – supplying backing vocals to Paul and Jacqui, and happy to be ‘Robin to Paul’s batman’.

On Stage: Dave Hemingway in action with The South

Has that changed, 25 years on?

I’m more comfortable with it now, but that doesn’t mean I am comfortable with it – just more than I used to be! It’s still a challenge sometimes, albeit not one I always rise to.

“I’ve never been one for bigging myself up, being up on stage saying ’look at me’. As I get older I think it’s even harder to have that attitude. It’s more ‘don’t look at me – look at someone else!’

“You have all these doubts … well, I do, anyway!”

Dave’s a family man these days, based in Crewe, Cheshire, for the last decade (having lived in Leeds for the previous 10 years).

“Crewe reminds me of Hull in quite a few ways, so it’s like a home from home.

“I’ve got two kids, and my daughter turns 21 in July, while my son turned 18 in February.”

Will they follow in your wake?

“Well, they’re musical, but my daughter’s doing languages at university and my son’s about to go.

“He plays drums and guitar, and my daughter plays keyboard, flute and piano. I think my son wants to join a band, but at the moment he’s just doodling away in the garage.”

Does Dave hear from any of his former band-mates in The Housemartins and The Beautiful South (with Norman having gone on to Beats International, Fatboy Slim, and major fame, Stan becoming a successful children’s writer, and Paul, Jacqui and Dave R going solo)?

“Not really. They’re doing their own thing, and that’s fair enough. That was then, and this is now.

“It was a marvellous time, which I’ll never ever forget, and I’m always proud to be a part of.

“But hopefully we can enjoy what we’re doing at the moment, and see where that goes.”

To find out more about the band, and upcoming gigs, head to their website here, or check out their facebook or Twitter links.

This feature is an expanded and revised edition of a Malcolm Wyatt interview with Dave Hemingway published in the Lancashire Evening Post on April 24th, 2014. For the original, try here.

Posted in Music | Tagged Aldershot, Alison Wheeler, Dave Hemingway, Dave Rotheray, Hugh Whittaker, Hull, Jacqui Abbott, Norman Cook, Paul Heaton, Sweet Refrains, The Beautiful South, The South | 9 Comments

Recreating the world of Mitchell and Kenyon

Posted on April 20, 2014 by writewyattuk

With a new play being staged highlighting the world of visionary film-makers Sagar Mitchell and James Kenyon, writewyattuk talked to Northern Irish playwright Daragh Carville about the lasting legacy of these celebrated Lancastrians.

Write Away: Daragh Carville, left, in rehearsal

Two decades ago, a cache of historic films were discovered in the basement of a Blackburn photographer’s shop, hidden away in sealed metal churns. Sagar Mitchell and James Kenyon’s films had been largely forgotten all those years, but these pioneers of film are known far and wide again now. And the pair are currently the focus of a play premiering at the Dukes theatre in Lancaster. The Life and Times of Mitchell & Kenyon celebrates these ‘factory-gate’ film-makers, who showed audiences the world as they’d never seen it before, creating cinema history along the way. The play runs at the Dukes from April 19 to May 10 then at Oldham’s Coliseum Theatre from May 15 to 31, and is the brainchild of award-winning director and Dukes associate artist Amy Leach – originally from Darwen, just a few miles from that old Blackburn base. It has a cast of just five – Gareth Cassidy, Liam Gerrard, Christopher Wright, Jo Mousley and David Westbrook – and was written by Armagh-born Daragh Carville, 45, based in Lancaster for seven years, and a rising star in theatre and screenwriting circles. Daragh’s first feature film, Middleton – starring Matthew Macfadyen, Daniel Mays and Eva Birthistle – was seen as one of the Irish films of the decade in 2009. His second, Cherrybomb – starring Rupert Grint, Robert Sheehan and James Nesbitt – won the 2009 Audience Award at the Belfast Film Festival. Daragh’s writing credits also include BBC drama series Being Human. And now he’s aiming to bring Mitchell and Kenyon back to life, telling the story of their unique film-making partnership. This visionary pair made ‘local films for local people’, and are now regarded as a national treasure, with Daragh a huge fan. He said: “I’ve always been interested in social history and early cinema and theatre, and was captivated by The Lost World of Mitchell & Kenyon documentary series (BBC, 2005). “So when Amy Leach came to me with this idea around three years ago, I said yes almost immediately. “There’s been a huge amount written about the films, but not a lot is known about Mitchell and Kenyon and what kind of people they were. “That gave me a lot of freedom to invent my own characters. This isn’t a documentary, but more an imaginative recreation of their world. “It’s a new departure for me, but I’m relishing the opportunity. It’s the first play I’ve written with songs in it, but in a sense they penned themselves. “While researching I started writing, and very quickly the characters started speaking in rhyme, directly addressing the audience, and singing. “I’d never written anything like that before, but it just felt so right. It’s been a very organic process, dictated by these characters and the world they operated in. “It’s been a lot of fun and hugely exciting, and Amy Leach is fantastic, casting five amazing, really inventive actors, with an atmosphere where everyone’s happy to throw in ideas. “Mitchell and Kenyon honoured the people they filmed and gave them a certain respect and dignity. And I want this play to honour them in the same way.” Daragh aims to invoke the spirit of the music hall era in which Mitchell and Kenyon made their mark, in a show packed with songs, humour and – thanks to the British Film Institute National Archive – clips from their films.

Film Pioneer: Sagar Mitchell (Photo: http://www.nfa.dept.shef.ac.uk/)

He said: “While produced in the music hall tradition, it’s very much a 21^st-century show. “We only have a cast of five, but they play an enormous number of characters, around 40, with a similar number of scene changes. “It’s quite an undertaking, and we’ve been running through the songs and choreography too. “It’s not a traditional musical, but songs and music play a big part. “We’re talking the end of the 19^th and early 20^th centuries, before permanent cinemas existed, with films shown on the fairground circuit, in circus tents, along with jugglers, clowns and acrobats. “A little later they started to be shown in music halls, but again were just part of the bill of lots of other attractions. “This show takes its point of departure from that, so it felt to me quite quickly that this show needed music in it, and a degree of magic. “It’s not a straight-forward costume drama, but almost a variety show, yet one that tells the story of these men and the work they did. “Then there are the films themselves, also a big part of the show. There’s a lot to get right.” Lancaster’s Imitating the Dog theatre company als0 plays a key part in the production, projecting stunning video designs onto the set. Daragh added: “Innovative filming methods were so important to Mitchell and Kenyon, so it’s fitting to work with people at the cutting edge of film technology, using the very latest video techniques.” Mitchell and Kenyon made their name by giving ordinary folk their moment of fame in that late Victorian period and Edwardian era. They set out from Blackburn and travelled nationwide, filming people as they left factories and enjoyed leisure time in seaside resorts such as Morecambe and Blackpool. The films were originally aired at fairs, theatres and other venues, where people could spot themselves, their family and friends on the big screen. Daragh said: “I don’t think they thought of themselves as artists or pioneers. They were businessmen. “They tended to pack the frames of each film with as many faces as possible, because each was a potential paying customer. “If you’d been filmed, chances were you’d come along that night and pay to see yourself. “They were very canny operators, but created something that lasted, and still touches and moves people over 100 years later.” After their heyday, these iconic pieces were largely forgotten until that 1994 discovery, something else the play focuses on. Daragh said: “The actual story of the rediscovery, in the disused basement of a shop in Blackburn, is part of the magic.

Direct Action: Amy Leach in rehearsal

“Because of the nature of early film, they were highly unstable, very dangerous, and could have gone up in flames at the drop of a hat. “The fact that they survived, hidden away in the dark, for all that time and were then brought back to life, is very moving. “The play tells Mitchell and Kenyon’s own story, but also that story of how the films were recovered. We felt it very important to do justice to that as well.” The rediscovered films were donated to the BFI, which together with the University of Sheffield’s National Fairground Archive, restored and researched 800 camera negatives. Last month, Professor Vanessa Toulmin, director of the latter – and born on Morecambe’s Winter Gardens fairground – hosted a presentation of films at the Dukes featuring the Lancaster and Morecambe district, with live musical accompaniment. Daragh added: “Vanessa is the world’s leading expert on the films, and we had a packed house. “The audience responded in an extraordinary way to these films. They are now well over 100 years old, but still exert a magical, deep connection.” As it’s a co-production between the Dukes and the Coliseum, the cast have rehearsed at both sites. Daragh added: “The Coliseum was an old music hall, founded in 1887, with people like Charlie Chaplin and Stan Laurel playing there. “It feels like an appropriate setting, because the play is so steeped in that tradition.” Those rehearsals meant daily commutes for Daragh between Lancaster and Oldham, in what he sees as prime Mitchell and Kenyon country. “Each day I’ve passed Hollinwood, and one of my favourite films in the collection shows workers leaving a factory there. “It’s a film we use in the show, with a lot of young ‘half-timers’ in it, playing up to the camera, from which you get a real sense of their character. “During the development of the film, we kept returning to that film. It’s formed an integral part.” The wealth of Mitchell and Kenyon material featuring the Lancaster and Morecambe area also helped Daragh warm to his task.

Acting Up: Gareth Cassidy, who plays Sagar Mitchell, and Chris Wright, who plays James Kenyon, in rehearsal

“One of the moments when the project clicked for me was seeing a film taken on Moor Lane, Lancaster, of workers leaving the Storey factory. “It’s now student accommodation, just up the street from the Dukes and from where I live. “It seemed extraordinary that these men stood on that spot and made that film, one I walk past every time I go to the Dukes. “It felt like I was almost being given permission. There are those moments when you think that’s something a little special. “It’s coincidence really, but there’s a certain magic to coincidence. “Another favourite is a film we also use, featuring a walk along the promenade at Morecambe, another area I know well. “Seeing it in 1901 on a summer’s day, is incredibly moving, looking into another world. Again, there’s this extraordinary power to the films.” So just what is it that’s so special about these rediscovered films?

Milltown Man: Daragh Carville

“I think it’s the fact that we’re allowed to see in beautiful detail the lives of people who otherwise weren’t recorded by history. “Apart from birth, death, marriage and census records, there’s little trace of these individuals. “Somehow it feels like the films restore a kind of dignity to those people who would otherwise be forgotten.” For ticket details of the Dukes run, call 01524 598500 or visit www.dukes-lancaster.org. And for details of the Oldham Coliseum run, call 0161 624 2829 or visit www.coliseum.org.uk. This is a revised version of a Malcolm Wyatt feature written for the Lancashire Evening Post and published on April 17. For the original, head here.

Posted in Books Films, TV & Radio, Comedy & Theatre | Tagged Amy Leach, Blackburn, Daragh Carville, Dukes theatre, James Kenyon, lancashire, Lancaster, Mitchell and Kenyon, Oldham, Oldham Coliseum, Sagar Mitchell, Vanessa Toulmin | Leave a comment

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