A life in denim, leather and spandex – the Biff Byford interview

Light Show: Saxon, live in Hamburg in 2011 (Photo: Kai Swillus)

Light Show: Saxon, live in Hamburg in 2011 (Photo: Kai Swillus)

With heavy metal survivors Saxon’s wheels of steel set to grind to a temporary halt at Preston’s 53 Degrees on Saturday, February 15, I managed to lure lead singer Biff Byford away from the studio to talk heavy metal.

Quite something in itself, really. You only have to talk to a few of my old schoolmates to understand how unlikely that would have seemed 30 years back. And yes, it is that long ago.

Back then, I was a lone voice espousing great new wave acts like Blondie, Buzzcocks, The Blockheads, The Clash, The Jam, Squeeze, The Stranglers and The Undertones, while they were dancing to a different tune.

If you can call head-banging dancing.

We seldom agreed on music, other than maybe Motorhead, Thin Lizzy, or another band re-inventing themselves as a heavy metal outfit at the time, the mighty Slade. And I don’t think I even appreciated AC/DC until I realised they couldn’t possibly have been taking themselves seriously … finally getting the joke.

saxon steelAll my metal mates had their favourite bands. For some it was Kiss, for others Motorhead, or Iron Maiden. One lad was big on Saxon, right down to a pride of place patch on his denim jacket. And three decades later, his favourites have certainly proved their staying power.

Saxon never really went away of course, although it took cult backing from the likes of BBC 6 DJ Mark Radcliffe and Bristolian comic Justin Lee Collins to bring them back into vogue of late.

What probably helped even more was the public show of respect for Saxon meted out by the next generation of metal bands, like Megadeth and Metallica.

When I recently interviewed Chumbawamba guitarist-turned-playwright Boff Whalley, I must have subconsciously started thinking about Biff Byford, and asked – jokingly, I might add – one music promoter if he had Saxon on his books when talking about potential interviewees. He said he didn’t, but we agreed we’d both enjoy a word with Biff, with the inevitable Spinal Tap type musings following.

A week or so later, I thought I was being wound up when the Lancashire Evening Post told me Saxon were coming to Preston, asking if  I fancied speaking to their lead singer. Was this some bizarre expression of karma?

saxon-bits-and-pieces-03The band had been due to visit last November, supporting historic tour-mates Motorhead, but a major health scare for the gruff legend that is Lemmy Kilmister caused a few flutters in the heavy metal world, and the subsequent cancellation of that tour.

While 68-year-old Lemmy tried to get a handle on his diabetes woes, Peter ‘Biff’ Byford and his band-mates decided to carry on with their own warm-up gigs for the dual tour, including that rearranged date at 53 Degrees.

Biff said: “We put some warm-up dates in before the Motorhead package. When they cancelled before Christmas, we cancelled these, but then thought we’d keep them in.

“They’re not large venues, but they’re good fun. We’re doing it for the fans, so we’re not disappointing them.

“We like playing smaller venues. We’re not ego-trippers. We like to mix it up a bit. It makes it more interesting.”

When I caught up with Biff, he was writing songs in the studio back in Yorkshire, the White Rose county having proved a key fixture for this 63-year-old rock legend.

Born near Holmfirth, West Yorkshire, his band formed in Barnsley, South Yorkshire, and he’s now based in Whitby, North Yorkshire, a dad of four, his eldest daughter having just started university.

He has a soft spot for Lancashire too, although the band estimate it’s been nearly 30 years since their last Guild City visit.

You’ll forgive Biff for not being too clear on the details, his band playing a fair few gigs since, while amassing millions of album sales worldwide.

Point Made: Biff Byford in live action in Hamburg (Photo: Kai Swillus)

Point Made: Biff Byford in live action in Hamburg (Photo: Kai Swillus)

Besides, the current line-up – Biff (vocals) and fellow founder member Paul Quinn (guitar), Nigel Glockler (drums), Nibbs Carter (bass) and Doug Scarratt (guitar) – have amassed 146 years’ service between them.

Watching him on stage, you’d think he was a darn sight younger, mind. So does Biff feel his age? And how does he keep fit?

“When you’re hill climbing, you tend to feel it a bit. It’s good going down, but not going up! I also do a bit of weight training. But I’m alright, touch wood. Time marches on.”

Has he ever tallied up the number of gigs over the years?

“Must be thousands. Perhaps I should probably try and do it one day, when I’m bored.”

A mate of mine, Dave Seddon, tells me the band last passed through his home city in 1986, playing the Guild Hall with an ominous sounding Japanese band called Loudness in tow. I kid you not.

But at the time of their first Preston show at the turn of the ’80s, Saxon were truly on the crest of a wave, in fact the New Wave of British Heavy Metal (NWOBHM), alongside bands like Def Leppard, Iron Maiden and Judas Priest, carrying on Black Sabbath, Deep Purple and Led Zeppelin’s legacy.

biff bookHis autobiography, Never Surrender, published in 2002, suggests Biff was a shy lad in his schooldays. So what was he listening to then – was he already a heavy rock fan?

“No. Pop really – stuff like The Kinks, a bit of Beatles, but more Rolling Stones. I was more of a long-hair and a biker in those days. I didn’t get into the harder bands until the ‘70s, Zeppelin and all that.”

Biff took an interesting path to the big time, including spells experiencing heavy metal of another variety on the textiles factory floor and surface work in a coal mine.

Saxon’s roots go back to 1976 in South Yorkshire, initially as Son of a Bitch, the name thankfully changed in time for an eponymous LP on French label Carrere in 1979, building a fan-base with supports to Motorhead and other established acts.

They went on to enjoy eight UK top 40 albums in the ‘80s, four reaching the top 10, and quickly asserted themselves among Europe’s top metal acts, with further success in Japan and the USA.

Their second LP, Wheels of Steel, led to two hit singles – the title track and 747 (Strangers in the Night) – being featured on Top of the Pops.

“It took some getting used to, that kind of stardom. In fact, I don’t think you ever get used to it. It’s all a bit Las Vegas. It was great though. You became more of a household name.

“It was the first time rock music ever got played on mainstream TV. Us, Iron Maiden, Judas Priest, Whitesnake – we were all on there. It just shows how popular our music was.”

saxon-bits-and-pieces-07Did it help that there were just three TV channels at the time?

“Definitely. Top of the Pops on Thursday night was watched by absolute millions. If you went on you could sell 100,000 records that week. It was silly, really.”

But it was their appearances at the first two Monsters of Rock festivals at Donington Park in 1980 and 1981 that secured their reputation for metal fans.

“Yes, and we still play that circuit. The first Donington was probably the gig that sealed our success. We were riding a bullet then. They were great times.

“They’re still great times. We’ve seen a great resurgence in ‘80s rock music, and we’re still making albums that people buy every year and a half.”

The hit albums and worldwide success continued, Strong Arm of the Law and Denim and Leather released amid hectic schedules, and despite personnel changes a series of UK headlining tours and a sold-out European tour with Ozzy Osbourne as support helped elevate their profile.

By the time they returned to Donington in 1982, they were charting with The Eagle Has Landed, the following year’s Power & The Glory also proving a huge hit.

As the NWOBHM faded, Saxon broke new ground through a major US arena tour, and in 1984 the album Crusader sold another two million records on EMI, backed by successful tours both sides of the Atlantic.

In time they took more of a back seat at home, but continued success in Europe led to a switch to Virgin Records, recording their 10th LP in Hamburg in 1991.

Did Germany understand Saxon more during that wilderness period?

“A lot of our organisation came through there, and we recorded Solid Ball of Rock there. But sometimes you just have hits in some countries for no reason … other than it was a great album.”

A legal battle followed with two former band members over name rights, but the fans remained loyal, and the albums continued to stack up.

Then came involvement in Harvey Goldsmith’s 2007 documentary Get Your Act Together and a major comeback, and by 2012 they’d enjoyed three more Donington gigs, for the Download Festival, well and truly regaining their status on the scene.

saxon thunderLast year they released a 20th studio album, Sacrifice, and documentary Heavy Metal Thunder – The Movie brought further international success, as did the afore-mentioned endorsements from Megadeth and Metallica.

“It’s great when bands come out and say you’ve influenced them. We’re friends with Metallica and all those bands. It’s good that they support us and talk about us in the press. All good for the profile.”

You may also have seen Biff and his band appear on a Channel 4 advert, with celebrities asked what luxury item they would save from a burning house.

In the ad, with a link here, Justin chooses Saxon, ‘the greatest rock band ever’, even though ‘they’re behind with the rent’, before an explosion rocks the set, with Biff and co. seen staggering from the wreckage. Well worth a watch … or seven. So, has Biff seen his landlord lately?

“I don’t know where Justin’s gone, actually. We haven’t seen him around for ages. It was good fun, that. He’s a good ‘un, and a big rock fan.”

What kind of set will Saxon, who head off to Luxembourg the following week, be playing at 53 Degrees?

saxon crusader“A mixture really. All the big hits, a few songs from Crusader, 30 years on, and a few tracks we might not play again in that order. Should be a good night.”

Biff and Paul have been in the band since the beginning, with the other members not far off. They obviously still like each other.

“We get on quite well. We see each other a lot on tour and while writing. We talk quite a bit on the phone too, and we’re into the same things.

“There’s not some sort of no hidden agenda. We’re all on the same wavelength.”

You’ve obviously kept in touch with Motorhead, but do you meet socially with all the other bands from that original scene?

“We meet Judas Priest quite a lot when they’re out and about, and get asked to play with a few bands. It is quite a bit of a family.

“I probably see Rod Smallwood (incidentally, another 63-year-old West Yorkshireman) than Iron Maiden (Rod co-manages the band), although I do occasionally see Bruce (Dickinson) down in London, for a drink.”

Iron First: Biff Byford leads the crowd in Hamburg in 2011 (Photo: Kai Swillus)

Iron First: Biff Byford leads the crowd in Hamburg in 2011 (Photo: Kai Swillus)

When I was thinking up questions for this interview, I couldn’t help but try a few of my old metal-heads for their suggestions (having ruled out straight away anything involving amps that went up to 11).

A couple came up with the goods, including Oxfordshire-based fellow Donington veteran Paul Gellatly, who wanted to know if the band had suffered any long-term effects from wearing spandex, denim and leather for so many years.

Biff replied: “Nothing yet … but you never know.”

Meanwhile, Sydney-based TV production maestro Nick Hopkin suggested ways for the band to re-engage with a younger audience, not least through renaming a few hits to make them more relevant today, coming up with Wheels of Toughened Polycarbonate, A380 (Strangers in the Night) and Suede and Synthetic Leather for starters.

Biff liked the idea, and added (with a throaty Yorkshire chuckle), “Yeah, if I need something else to do, definitely.”

But I reckon the chances of Saxon celebrating 40 years in the business in 2016 are pretty good already. And you can’t really argue with 13 million albums sold worldwide.

Biff added: “It is a lot of albums, but I suppose if you’ve got 20 studio albums, lots of live albums and tons of compilations, they will all add up.”

Tickets for Saturday’s Saxon show at 53 Degrees are priced £22.50 and a booking fee, with doors open at 7.30pm and more details from www.53degrees.net/

And for all the latest news from Saxon, head to their website here.

This is a revised and expanded interview/feature of one that appeared in the Lancashire Evening Post on February 13, 2014, with a link here.

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Spin (and) the bottle – the Chris Barron interview

AMID a harsh stateside winter, MALCOLM WYATT spoke to a housebound Chris Barron to talk about the Spin Doctors’ past and present, ahead of a three-date UK visit which includes a brief trip to Lancashire.

12517_10152768058370179_1165888238_nIf you reckon the Spin Doctors were something of a two-hit wonder, think again.

Admittedly, this early ‘90s hip US outfit were best known for Two Princes, Little Miss Can’t Be Wrong and the album that spawned those breakthrough hits, multi-million selling debut LP Pocket Full Of Kryptonite.

But while they never quite reached that commercial high again, Chris Barron and his band-mates never really went away.

And the New York quartet’s latest blues-driven album, If The River Was Whiskey, their sixth album, certainly proves their lasting musical worth.

whiskeyChris (vocals), Aaron Comess (drums), Eric Schenkman (guitar) and Mark White (bass) play Burnley Mechanics on February 20th, one of just three UK gigs this time, following that with shows at Croydon’s Fairfield Halls (February 21st) and alongside Dodgy at Thre Garage in Islington (February 22nd).

That small scale ethic sits nicely with the band’s philosophy, and it’s worth noting that when they hit the back time, the Spin Doctors were just four guys in their 20s having a whale of a time playing the Big Apple blues circuit and NYC downtown bars.

Then came the hits, hysteria and mega-stardom, selling 50,000 records a week. As Chris said, “I’d walk into a shopping mall to buy underwear and 300 kids would surround me.”

Fast forward a few years, and I’m pleased to say they’re back to their roots, the band feeling If The River Was Whiskey is the deep-blues album they almost made before fame called.

Yet this is no retro LP, but fresh, honest blues from a band clearly on their game after all those years honing their craft.

Some of the songs are rooted in late ‘80s sessions, a European tour to mark 20 years since Kryptonite leading to a re-visit, the results unfolding with ‘an effortless magic’.

Chris added: “It’d be awesome if it sold millions of copies, but honest to God, I just want to keep making a living playing music.

“We get up onstage and we turn it on, sing and play our hearts out. That’s all I’ve ever wanted to do.”

I was playing Pocket Full of Kryptonite as well as the new album as I sculpted a few questions for Chris. And I’m pleased to say, 22 years after its release, Kryptonite is as fresh as ever. Great rock’n’roll is clearly ageless. So is Chris still (rightly) proud of that sparkling debut?

spin kryptonite“We got lucky with that record, I suppose. It really seems to have held up nicely. We didn’t put a lot of effects on that would pigeonhole the sound in a certain era.”

Is it also something of an albatross, the first album you always had to live up to? Do you find yourself having to say, ‘actually, we’ve made six albums’? 

“I don’t know. I tend to focus on how lucky we are to have made something that people still care about 20 years later.” 

It must have been a bit mad in those days – the fame and all that followed.

“Lots of good memories. Parties, travel, romance… We had a hell of a time.” 

Fame can be a fickle mistress, but you’ve always had that hardcore of fans that have stood by you and enjoyed all you’ve done over the years (the band LPs as well as the solo projects), haven’t you?

“We have some of the best fans a band could ask for.” 

Was that album a reflection of that New Jersey/New York blues circuit at the time, with with yourselves, Blues Traveler, and so on?

“It was our version of the music coming along at that time. We had our own novel style, but were all pushing against the boy band, cheesy pop thing and hair bands – who I actually kind of love now!” 

You were known for the on-stage jams and lengthy shows. Was that all part of your musical education?

“Indeed it was. Learning to carry off songs no one in the audience knew was crucial. We’ve always been conscious that we’re entertaining people so try to keep that stuff really focused and dangerous so it doesn’t turn into boring finger gymnastics.” 

Spin-DoctorsIs that bond/brotherhood still intact with those other bands and band members from that scene?

“Oh, yeah. We all lived through a special time.” 

Listening back to those early songs and the words behind them, how do you feel you’ve changed these past couple of decades? And what – if anything – would you change now, given the chance?

“I don’t know what I’d change. I always get worried answering that question. Like, what if I wish I could have changed something and it’s like The Twilight Zone and the wish comes true but I’m a robot stuck in the same week playing over and over for all eternity.

“We’ve had a great time and we still are. I’m a lucky guy. I’m gonna leave it at that. As to the other part of your question, I’ve worked hard on my singing and writing skills over the years and I think I’m better at those things.” 

Are you a family man these days, or an early-hours hard-drinking musician? 

“A little of both. I have a lovely wife and daughter and a couple of cats. I do a lot of cooking at home. I’m a little obsessed with Downton Abbey but like to drink my scotch straight.” 

How do you compare NYC and its political and social scene then to now?

“The upside is it’s a lot safer but it’s not as crazy as it was. I love NYC. I wouldn’t live anywhere else, except maybe the south of Spain in January and February. 

Live Doctors: The band in action during their 2013 US tour (Photo: www.spindoctors.com)

Live Doctors: The band in action during their 2013 US tour (Photo: http://www.spindoctors.com)

(When I interviewed Chris, New York City was in the midst of a cold snap, to say the least, its wintry conditions making worldwide news. So I couldn’t resist asking him – in a very British way – what the weather was like there.)

On Some Other Man Instead he speaks of some heavy weather – I guess you didn’t have this current spell of winter in mind? Talk us through it. Where are you these days, and just what it takes to nip out for a bite to eat at present?

“It’s been brutally, brutally cold these last couple of weeks. I have some wool long underwear that I picked up in Norway and it’s come in handy.” 

Tell me about If The River Was Whiskey. It came out last May in the UK. How’s the public reaction been (both sides of the water)? And how do you feel about it a few months down the line?

“We’ve had the best reviews we ever received. It’s been very nice to go out on a limb and make a blues record and get all this great feedback. We’re on a lot of ‘best of 2013’ lists so I guess the record is holding up well.” 

Stars & Stripes: The band performing on their US Whiskey tour (Photo: www.spindoctors.com)

Stars & Stripes: The band performing on their US Whiskey tour (Photo: http://www.spindoctors.com)

The line-up’s changed over the years, and you’ve clearly seen more than your fair share of upheavals. Is it good to be back in tow with Aaron, Eric and Mark again, and are you in a better place as a unit these days? Is it as good or perhaps even better, now you’re not living in each other’s kryptonite-filled pockets (sorry, couldn’t resist!)?

“Yes. We’re getting along well these days. It’s nice considering we were at each other’s throats for a lot on the time. Water under the bridge. We all have kids and really, we’re the only guys who we know who have been through what we’ve been through.”  

Whiskey is a very bluesy album. Do you think it’s opened you up to a new audience?

“For sure we plan to stay with the blues direction. Really, just because it’s always been a big part of our music. The next record is going to turn back a bit in the rock direction. Sort of Exile on Main Street meets Houses of the Holy.”

Some of those songs have been around with you a long time? Is this perhaps a reflection of your musical DNA?

“For sure.” 

Cheers Boys: The band raise their respective glasses (Photo: www.spindoctors.com)

Cheers Boys: The band raise their respective glasses (Photo: http://www.spindoctors.com)

‘Deep blues’ is a pretty good description, and supposedly this is the album the Spin Doctors almost made before mega-stardom came knocking. Is that right?

“Yes. We were a blues band first. Kind of like Fleetwood Mac.” 

And yet – around 25 years after you first formed – your material still sounds as relevant and fresh for today’s audience as it would have been back then. I’m guessing you enjoyed making the record? It certainly sounds like it.

“We truly did. We thought we were making a demo so just cut loose and enjoyed ourselves. In the outtakes there’s a lot of joking around. I was speaking in a Canadian accent pretty much the whole session.” 

I believe the recording all happened in a matter of days. There’s definitely a raw feel – and it’s perhaps all the better for that. Was this a new way of recording for you?

“We did this record in three days. We’ve always been better when we didn’t allow ourselves to get to precious. Like I said, it was supposed to be a demo so we were really sort of fooling around. When we listened back we realized we were never going to beat that vibe.” 

You had to cancel a short tour last year, because of a vocal cord problem, not for the first time either. I’m guessing you saw the signs this time?

“Yeah. I just blew my voice out. The band tried to do too much in too little time and I was trying to be a hero. Dumb. All you singers out there! No matter how tough the rest of you is, your voice is more delicate than your eye lids. You got to rest. No way around it.

“You can’t do a million gigs in a row and fly across the water nonstop and think you’re not going to lose your voice. I’m now a hundred per cent. I just didn’t talk for a month.” 

Two Princes: Back in the day

Two Princes: Back in the day

That must be a little worrying – not least the first time you suffered with your voice? Do things like that make you re-evaluate what you have?

“I always try to stay in touch with how lucky I am.” 

And did your (blues) doctor prescribe a little whiskey?

“Always.” 

Your date at Burnley Mechanics is followed by others to the north and south of London then in Paris and Amsterdam. Why did you choose those three UK venues?

“Hey. I just get out of the van and sing my heart out. No matter where it’s parked. That said, I love going to a small town where they don’t get a lot going on. I wish more rock’n’roll came to the little town I grew up in.” 

When were you last in the UK? Was it the Kryptonite anniversary tour? Have you good memories of gigs over here and previous visits?

“We’ve always loved playing the UK. I lived in Australia as a kid so grew up with the BBC. Classic Doctor Who (Tom Baker) and Are You Being Served? I can’t wait to get on the outside of a few English breakfasts.” 

We famously stole the blues from your side of the pond and gave it back in a way that made you sit up and notice – via the Rolling Stones etc. Is this some kind of payback for you now – reminding us all about the blues and how relevant they remain?

“You’re welcome.” 

As well as a few blues artists, I can hear on the new album a few bands that took on that influence too – from The Eagles right through to erm… Primal Scream, perhaps? 

“Haha. The Rolling Stones mostly..”

So what of the future? Are you still writing a lot of songs? Will there be another Spin Doctors album coming our way soon? Or is it back to the solo work?

“Definitely another Spins record. I’m also working on a record with my Norwegian supergroup, The Canoes, and a solo record. I’ve been writing my brains out. What’s left of them, anyway.” 

spin promoAnd what can we expect at the Mechanics, the Fairfield Halls and The Garage? Explain if you can what the Spin Doctors are like as a live phenomenon, circa 2014.

“If you only know our hits you’re in for a surprise. We’re more a blues band than a pop band, a power trio with a front man, who I hope isn’t annoying.

“We work very hard on our songs so you don’t have to listen to a bunch of crap then finally get Two Princes.

“And if you come out and don’t think we played our guts out, I’ll buy you a pint.” 

For more details about the UK tour and all the latest from the band, head to www.spindoctors.com

And to get a taste of the Spin Doctors in 2014, try this video link to the title track of their latest album.

A version of this interview first appeared in the Lancashire Evening Post. To find that, try here

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Mixing it up with an alternative jazz statesman – the Stuart McCallum interview

A RISING star on the alternative jazz scene is back on his old patch, teaming up with his former guitar tutor for five dates as a duo in the North. Here, writewyattuk catches up with Stuart McCallum to talk about his various musical projects.

41013_largeTwo accomplished North-West guitarists are set to come together in an acoustic setting on Sunday night (February 2nd), adding fresh twists to their own songs and re-imagining a few standards at The Continental in Preston.

It’s the case of the master meets the accomplished student, as tutor Mike Walker joins star University of Salford alumni Stuart McCallum at the Lancashire venue.

Preston-born Stuart, 35, joined The Cinematic Orchestra in 2004, his success there just part of a number of ground-breaking projects and international performances in the last decade.

stu distilledHe’s now released four well-received solo albums, the third of those – 2011’s Distilled – leading to a 40-date European tour, itself culminating in the recording of Distilled Live on the Naim label in late 2012.

Stuart, brought up in the town that’s been my home for the past two decades, Leyland, has played and recorded with some of today’s most prominent jazz artists, his latest live dates just part of a hectic on-going schedule.

His show at the Continental is the culmination of five dates with Mike Walker,  following gigs in Sowerby Bridge, Altrincham and Leeds and at the Marsden Jazz Festival (February 1), sharing a stage with the man who helped move his career on.

Mike Walker has seen his fair share of international success on the jazz scene over the years, not least with The Impossible Gentlemen.

Stu Reunion: Mike Walker

Stu Reunion: Mike Walker

The duo say they are out to create music ‘characterised by focus and restraint’, Stuart proposing ‘chilled-out bliss’ while Mike promises ‘subliminated yearning’, their latest collaboration following a chance jam at a mutual friend’s party, a rapport immediately apparent.

Both have overseen major writing commissions since their initial sessions, including Mike’s Ropes, a suite for a 22-piece string orchestra and a jazz quintet, performed at Manchester’s Royal Northern College of Music to a packed Opera Theatre.

In fact, Stuart’s own Distilled Live tour premiered at the same venue, complete with a 16-piece orchestra, with added visuals from another regular collaborator, the artist Linder Sterling (whose past work included artwork with Buzzcocks), for whom he recently scored music for a ballet, The Ultimate Form.

Ultimate Form: Linder Sterling's Northern Ballet piece features Stuart's music

Ultimate Form: Linder Sterling’s Northern Ballet piece features Stuart’s music

The Distilled Live set is perhaps the perfect way to introduce yourself to Stuart’s music, stirring from the laid-back but powerful opener What Is Beauty? onwards (with a link below), that first song sampling the soothing tones of late Indian philosopher Jiddu Krishnamurti, whose teachings have deeply inspired McCallum’s music and outlook.

So how did a kid brought up on ‘Jimi Hendrix, Led Zeppelin, Deep Purple and classic rock’ get to appreciate ambient jazz and that whole scene?

“I wasn’t really that into it. I had piano lessons, up to grade one, when I was young but it wasn’t until I was around 15 when I started getting into music quite seriously.

stu mc“I got into Miles Davis, Pat Metheny, George Benson, John Scofield and all that kind of stuff later. I was introduced by my guitar teacher at that time, and it was pretty much a natural progression, I guess the rock stuff wasn’t for me.

“I also picked up a guitar when I was quite young, but again it wasn’t really until I was 15 that something clicked.

“I had private lessons from a friend of a friend, Keith Ashcroft, out Chorley way. When it did click it wasn’t really a choice after that. It just felt like music chose me.

“Then I went to Salford University, where Mike was teaching and I wanted to have lessons from. And now here I am – so many years later – playing with him again.

“I’ve five dates with Mike, playing some of his tunes, some of mine, and a few we’ve written together.”  

So what’s the best description of what he does? Alternative jazz? Ambient jazz-electronica?

stu echo“Well, it’s instrumental music with improvisations, so I guess that’s jazz. But the music I’ll be playing at Preston is different from my solo work. It’s more acoustic.

“Genres are less defined these days, and it’s not like you walk into HMV and have to walk downstairs to access it all these days. It’s all on Amazon or iTunes.”

So is he still involved with The Cinematic Orchestra?

“Unless you’re one of the small percentage that manage to make a lot of cash out of just one thing, you have to do a lot of projects. I teach part-time at Leeds College of Music, have my solo material, then projects like that with Mike, with quite high-profile bands like the Cinematics and a lot of lower-profile bands too.

“You’ve just got to have your fingers in a lot of pies.”

The Cinematics link also involved soundtrack work for Disney on a nature documentary, and the makers of a portrait of the real life inspiration for 1975 film Dog Day Afternoon have also used Stuart’s music.

“In my niche, you have to be flexible enough to play at a number of venues, from the Continental upwards – and from solo artist and duos and up. And I guess if you want to project a big sound you have to put a lot of work into it.”

stuart_mccallum

Manc Base: Stuart outside Matt and Phred’s

“I tend to listen to a mixture of folk, electronica, world music, some jazz, some indie, a bit of whatever really. I just try to keep an open mind. My students at Leeds tend to put me on to various things I would never have heard of otherwise. It’s good to keep in with the kids. They know what’s happening!”

The busy schedule seems to involve a lot of festival appearances, including regular slots at Manchester Jazz Festival as well as at Glasgow and even the Tate Modern in my beloved St Ives, Cornwall.

“The Manchester Jazz Festival has been very supportive of me over the years and I’ve had some really nice gigs there and built a relationship with them. Both Glasgow and St Ives were with Linder (Sterling).

“The Glasgow set was a 13-hour improvised performance with dancers and musicians and a musical director, and the Tate show an exhibition about the dark arts and British art. Linder did this piece, The Dark Monarch, about folklore and its darker side, using local musicians, generally making a racket!

“The ballet I got commissioned to write was with Linder and the Northern Ballet, based in Leeds, with the premiere at le Musee d’Art Moderne de la Ville in Paris then at the Hepworth Wakefield.

“They’re moving that down to St Ives in a couple of weeks, where Linder’s in residence. But I’m in the studio so can’t make that.”

You’ve worked with some big names on the emerging jazz scene – including Ari Hoenig, Kenny Wheeler, John Surman, Mike Gibbs, Gwilym Simcock and Tim Garland. Is there anyone on the list you’d like to work with?

“Not really. I’m happy just doing what I’m doing. I’m working on my follow-up album to Distilled with a drummer called Richard Spaven, who’s producing the record. He’s a great person that I want to work with!

“He’s super-experienced, and did stuff with the Cinematics, Flying Lotus and Jose James, and a lot of top electronic artists. So it’s great having him produce it. It should be a good combination. 

Looking Up: The engagements and opportunities keep coming for Stuart McCallum

Looking Up: The engagements and opportunities keep coming for Stuart McCallum

“I’ve got the live work with Mike, another project with a vocalist, then I’m doing an album with a pianist coming over from Australia to record in February, a duo of piano, guitar and electronics, which we’ll tour out there and over here.  

“Then I’m off to Glasgow tonight for a couple of days rehearsing before a Celtic Connections festival with a kind of jazz-meets-Irish traditional band, so that should be good.”

That list of overseas engagements should have included Stuart’s composing, recording and performing at Tokyo’s Ropponghi Art Night alongside Nitin Sawhney and Ghostpoet. So where is home between all those dates and commitments?

“In Manchester, a bit out on the edge, not far from the Trafford Centre. I think the older I get the more I want to be closer to greenery, and where I am is a bit more leafy.”

For ticket details regarding The Continental gig, call 01772 499425 or try via here.

Following his Mike Walker gigs, Stuart has a few more in the diary this month, including residency dates at Manchester’s Matt and Phred’s (February 4th and February 19th), then shows at Leeds College of Music (February 17th) and Leek Foxlowe Arts Centre (February 22nd).

To find out more about Stuart, his forthcoming shows and more, follow this link to his website.

This article is a different version of one previously published for the Lancashire Evening Post, with a link here.

And to get a taster of what Stuart’s all about, why not try this powerful piece here.

Posted in Music | Tagged , , , , , , , , , , , , , , | Leave a comment

Helen Dunmore – The Lie

lie dunmore largeWe’re already seeing a surfeit of news stories and TV documentaries marking the centenary of the First World War, with the library and bookshop shelves full of related publications.

Some are already established classics, some are new spins on past works, others are just trotted out to fill a nice gap, and a few are half-hearted, poorly-researched affairs.

But I’m pleased to say the first I’ve picked up in 2014 is a worthy example of the best in Great War-related material, adding fresh insight to a well-worn subject.

And while Helen Dunmore’s The Lie is fictional, it’s steeped in fact and meticulously honed, as you might expect from this treasured author.

I was an early convert to Helen’s work, starting with her award-winning debut novel Zennor in Darkness. And this time she’s returned to that Penwith peninsula setting we both love.

Amid all the true stories out there, you might question the need to create something new, but there’s a very real feel to The Lie, which sheds light perfectly on not only the outcome of this far-from-glorious war at ground level, but also on post-WW1 Britain.

greatcoat dunmoreShe was on familiar horrors-of-war territory with 1950s’ ghost story The Greatcoat and her WW2 Leningrad novels, The Siege and The Betrayal. 

And what all those have in common is the wonderfully-evocative imagery that draws you in and makes you believe her best stories, totally.

The Lie is a first-person account of the aftermath of war for a young man who has witnessed horrors beyond his and anyone’s comprehension, returning to his beloved West Cornish coastal setting and trying to come to terms with his recent past and an uncertain peacetime future.

It soon becomes clear that life will never be the same again for former under-gardener Daniel Branwell.

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Fresh Insight: Helen Dunmore

But I’ll err on the side of caution by saying the tragedy here is – irrespective of where the story might be heading – the First World War itself, and the effect it had on its veterans and those they left behind.

While Daniel somehow got home in one piece, the damage has clearly been done, the mental baggage of that conflict making such a huge impression on its survivors.

He lost his widowed mother while he was away, and saw his best friend, Frederick, his commanding officer, die before his eyes in France.

Amid the harrowing flashbacks of that muddy hell in the trenches, Daniel also dwells on his childhood alongside his friend at the Dennis family’s residence, along with Frederick’s younger sister Felicia.

In 1920, Felicia has not only lost her brother but her husband too (‘not 20 and a widow’), and is bringing up her young daughter alone.

Despite her loftier financial status through her wealthy mining engineer father, she too is finding it hard to get by in this austere new world, after a sheltered upbringing.

zennor dunmoreFor all that, she’s a victim of her time, a gifted scholar unlikely to ever gain her dream of a university place through her circumstances – not least being a woman.

Meanwhile, Daniel is the cleverest boy in his class yet unable to get himself on the ladder, denied an education by his family’s need to survive, set far too early on a working path to make ends meet, while his less-bright ‘blood brother’ receives the schooling of the privileged.

Daniel’s clearly not thinking straight when we join him, yet with Helen’s skilled touch we totally empathise with his well-drawn character, even when his actions make little sense to those around him.

We look on as he scratches a living on a small-holding belonging to a family friend, who turns out to be another of the outsiders in this close-knit out-of-town setting.

Each chapter is led by a chilling epigraph culled from the official notes for infantry officers on trench warfare and raids from 1916, used to great effect.

Meanwhile, Daniel’s love of the literature he found in Mr Dennis’ private library and ability to quote vast passages gives the author an opportunity to bring in several cherished works, not least Coleridge’s The Rime of the Ancient Mariner.

Daniel is no caricature, and there’s added colour in Helen’s depiction of him, trying to make sense of it all from the moment he crosses the Tamar to head for the war.

There’s no way you can write about this dark period without an expose of class and privilege, but Helen’s between-the-lines comment is brilliantly subtle.

birdsongShe draws on many of the themes you find in other winning works in this genre, not least Sebastian Faulks’ Birdsong, but Daniel is infantry rather than officer class, and as a result his story resonates so much more for this reader.

Furthermore, despite all he’s endured and all the camaraderie he felt on the Western Front, he’s no clichéd Pal, remaining a loner and clearly not suffering fools gladly.

Yet for all the underlying bitterness and gruff reactions towards his neighbours, Daniel’s in his element in the love story that unfolds with Felicia, those vignettes of shared meals and afternoons out with his girl and her daughter the perfect antidote to his delayed trauma.

Frederick, though lost in France, is integral to this story too, always there in Daniel’s nightmares, his officer on the front line also returning home from a war that never truly ended for its veterans.

Through Helen’s haunting yet poetic prose we find ourselves drawn into a rugged yet breathtaking early-20th century landscape, as we did with Zennor in Darkness.

And beneath the psychological, the socio-economic and the subtly-political, the underlying love story is an intimate and highly believable one.

In that respect, perhaps Helen is a worthy successor to Winston Graham for his Poldark stories set against an earlier troubled era in the Duchy.

You come out of this story not only re-imagining the life Daniel left and later returned to, but also the horrendous parallel world he entered on the Continent.

And when the conflict’s over, he’s still at war, with his guilt at returning home and his imagined and real demons – in the past, present and future.

Like the ’lie’ in the title, the passages where this gardener’s boy returns to the soil to try and rebuild his life are deeply allegorical, as much as the albatross imagery he dwells on as he recalls Coleridge’s mariner’s own dilemmas.

helen d lieA century on, amid continued foreign conflicts, there are many lessons from history to heed here.

And at a time when we’re bound to encounter glorification of the Great War in some quarters, Helen’s story tells us so much about the reality and consequences of that slaughter.

The Lie by Helen Dunmore, published by Hutchinson in mid-January, is available in hardback at £14.99 and also in e-book format.

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

Tubthumping, suffragism and pantheism – the Boff Whalley interview

With ‘one-woman suffragette musical’ Wrong ‘Un about to embark on a 21-day national run, starting at The Lowry Studio, Salford Quays, writewyattuk caught up with the play’s author on the phone from his home in West Yorkshire.

Red Ladder-3485-001

Suffragette Sister: Ella Harris as Annie Wilde in Boff Whalley’s Wrong ‘Un (Photo: Tim Smith)

Lancashire-born and bred singer-songwriter turned author and dramatist Boff Whalley has been busy of late, not least with the Red Ladder theatre company’s tour preparations.

The name should ring a few bells from his past role with Chumbawamba, having served the band throughout their 30-year reign, from their anarcho-punk roots through to a dabble with pop fame and beyond.

The band will be best remembered to most punters for 1997 worldwide anthemic hit Tubthumping, its inspirational ‘I get knocked down, but I get up again’ line lending itself to be used on so many sporting venue PAs and as TV incidental music these past 15 years, played to death across the continents yet somehow surviving all that.

But there was so much more to Chumbawamba, and indeed to guitarist Boff and the rest of his band-mates.

Band Days: Boff Whalley with Alice Nutter at Chumbawamba's 25th anniversary gig in 2007 (Photo: http://www.chumba.com/)

Band Days: Boff Whalley with Alice Nutter at Chumbawamba’s 25th anniversary gig in 2007 (Photo: http://www.chumba.com/)

Chumbawamba finally called it a day in late 2012, and you may have seen Alice Nutter’s name on your screens since, not least for her TV scripts working with Jimmy McGovern on hard-hitting drama like The Street and The Accused.

Word has it that Phil Moody’s been working on a Dadaist arts project, while Dunstan Bruce has been making films, Neil Ferguson’s working as a sound engineer, Harry Hamer works with Interplay Theatre as an actor/musician, Jude Abbott is with the West Yorkshire Symphony Orchestra,  and Danbert Nobacon is an occasional author, blogger and radio host in Washington State, USA.

But what about Boff, the Burnley lad who was born plain Allan Whalley, whose nickname was coined by colleagues in the Supasave supermarket he worked at in his teens, where he was the ‘college boffin’? And incidentally, does anyone still call him Allan?

“No. Allan disappeared a long time ago. It was Allan with my grandad and grandma for a while, but when they left us, that was it really.”

Right, now I’ve got that out of the way, let’s move on to Wrong ‘Un. First of all, what about that description as a ‘one-woman suffragette musical’ – is that a fair description?

“Yes, on the assumption that the word musical doesn’t conjure up Andrew Lloyd-Webber, jazz hands and song and dance routines.”

The play’s set in February 1918, and after several decades of protest and four years of war, Parliament is poised to grant what the suffragettes have demanded and fought for – votes for all women.

Lesson Learned: Ella Harris  in Wrong 'Un (Photo: Tim Smith)

Lesson Learned: Ella Harris in Wrong ‘Un (Photo: Tim Smith)

After years of direct action, arrest, imprisonment and force-feeding, it seems their time has come, and Wrong ‘Un tells of the adventures of Annie Wilde, a Lancashire mill-girl galvanised by a rousing mixture of injustice, conviction, self-doubt and fear, powerfully played by Ella Harris.

The story follows her journey from schoolroom to prison cell and beyond, in a musical drama drawing on class, privilege, hope and disappointment in wartime England.

Wrong ‘Un opened to a great reception at the Leeds Big Bookend festival last June, then went on to Hebden Bridge Arts Festival and Unite’s Women’s Week in Eastbourne, before this major tour.

So, with a fair few First World War centenary commemorations ahead of us, I guess this is a period that’s always interested you?

“Absolutely. I think now more than ever, because it’s 100 years ago and there’s that thing of looking back and trying to work out what’s changed and what’s the same, and how similar certain things are.”

There seems to be a slight shift nationally towards re-branding that whole period, with fears that it will be marked as this glorious struggle rather than the reality and horror of it all – the word ‘celebration’ already being used in some Government quarters.

“Yes, (Michael) Gove was talking about it last week. Really disappointing. I’m currently writing something else for theatre, happening in Saltaire, to do with the First World War and I was determined it wasn’t going to be ‘Tommies going over the top, plucky lads’ and all that, but more about the sorrow and pain of it all. That’s not what people want to hear about a lot of the time, but it’s the truth.”

Between that project and Wrong ‘Un, I can see a lot of the themes you took on with Chumbawamba – not least feminism, direct action, injustice, class and privilege.

“Absolutely … and there’s a never-ending supply of material once you start going back in history, even just 10 years. Interesting parts of ordinary people’s lives are worth talking about, writing about and singing about.”

Is your character in Wrong’Un, Annie Wilde, based on anyone in particular?

Inspirational Tales: Jill Liddington's Rebel Girls

Inspirational Tales: Jill Liddington’s Rebel Girls

“She’s a mix, really. A woman called Jill Liddington wrote books about Northern working class suffragettes, as opposed to the ones we all know about – the Pankhursts and so on. She wrote about these Lancashire lasses in the Calder Valley, heading towards Halifax and Huddersfield, and this thriving movement of young girls, especially of mill workers, going down to London for these big demonstrations and getting involved in direct action. Annie is an amalgamation of a few of those girls.”

Were your own family history roots in Burnley at the time of the 1914/18 war?

“I believe they were, although a few of them came over from … err, (he coughs to stifle the word) Yorkshire!”

Did you hear stories while growing up about Burnley’s part in the Pals movement and so on?

“Yes, and I recently read Jeannette Winterson’s autobiography, talking about growing up in Accrington, and couldn’t believe the similarities. When I was growing up, it was right at the bridge of all this industry, work and sense of things thriving, just about coming to an end.

“I go to football matches at Burnley and remember looking across town and seeing a forest of chimneys, whereas now maybe you see two that are left. It’s really strange. It used to be a working town. Through my grandparents I’ve seen that history. Those roots are really deep, and that’s important.

I believe your parents were primary school teachers. With that in mind, I guess it was written in the stars that you were going down the education line eventually!

History Link: Chumbawamba's English Rebel Songs 1381-1984

History Link: Chumbawamba’s English Rebel Songs 1381-1984

“A lot of people in my extended family back in Burnley are teachers now, married, with their sons and daughters teachers too. I somehow managed to escape and always thought ‘I’ll never do that’. But I’ve just gone a different way around it! In the mid-1980s, the band made a record called English Rebel Songs 1381-1984, and I remember thinking, this is getting perilously close to the history lessons I always hated at school!”

When did you do most of the writing for Wrong ‘Un?

“The idea came around a year ago, and I wrote it over the first three or four months of last year. A friend of mine called Ginny, from Leeds, discovered that her grandma, Freda Graham – who she knew roughly was involved with the suffragettes – had left a box at her home, and it was this incredible archive of medals, documents, letters from the Pankhursts, prison admission records, and so on.

“We looked through all this and some photographs, and I thought this is something that needs to be written about. These women went through all that, but it’s not in the history books. And a couple of times, Ginny’s been along to performances and shown this box.”

Did the play change much when it went to the Red Ladder theatre company?

wrong un“Not really. I’ve found with the things I’ve done with Red Ladder that they’re really collaborative, and I like that. I’ll write something and work on the songs, then there’s a period between rehearsal and writing where things change, people chip in with ideas, and Ella Harris, who plays Annie, has taken it and made it her own, changing certain things and how they work.”

Even just watching the trailers, I can see how strong Ella is in the role.

“She is. And incidentally, I think  she lives in Mytholmroyd, where Jill Liddington lives too.”

Justin Audibert, the producer, is also a big influence, isn’t he?

“Definitely, I’ve worked with Justin before. He’s a young, up and coming director and he’s great, one of those people who walks into a room and he’s so full of life. You can feel the energy going on around him.”

And if that and the war project aren’t enough, I believe you’re working on a play about the 1980s’ miners strike now, a three-woman play loosely based on Chekhov’s Three Sisters?

“When the idea came up from Unite, and the union’s Yorkshire branch, they wanted something to commemorate the strike. I thought that would be great, but didn’t want it to be people on stage pretending to be miners on picket lines. I wanted a different way of doing it, and thought we could have the story of three sisters going through the strike, with completely different experiences – how they’re involved, living in those pit villages, looking at how families and communities had to deal with it. That’s a great story.

“I’m quite a way in at the moment, writing the music, and it’s going to be on for a week during the Durham miners gala, in their beautiful old union building. The music will be played by one woman with a harmonium, with a brass band leading the play in and out.”

Moving away from the theatre work, I believe there’s another book on the way too – a part-travelogue, part-guide, charting Britain’s radical history.

“Yes. I’ve written part of it, and I’m waiting to find an interested publisher before I crack on. It will include a piece on a coiners’ walk near Hebden Bridge, over the hills. That’s a  fascinating story. It’s great to be able to walk around there and find where these people lived and worked and escaped arrest.”

I’m guessing Tolpuddle in Dorset is on the list too?

“Yes. It will range from a three to four day walk in the Lakes, marking when Coleridge and Wordsworth were going through their radical phase and went over the mountains on a walk no one had ever done, and the other extreme, when Charles Darwin was writing his defining evolution work, he had a 10-minute walk around his house. Whenever he was stuck on something, he’d get up and walk around this path three or four times. So I want all these extremes of different walks.”

RunWild_cover.jpg.opt341x543o0,0s341x543You’re a keen fell runner too, and have written on that subject for a book and a fanzine. Does that ever bring you over to my side of the Pennines, back in Lancashire?

“Definitely – all the hills over there, I’ve run them all! I really like the Pendle area, and running it is just fantastic and offers me a great chance to keep in touch physically with all that geography over there, because it’s beautiful. Then there’s the Forest of Bowland and Trough of Bowland, it’s all lovely over there. And you can go running all day and not meet a soul.”

So where is home these days?

“I’m in Otley, but still come over every few weeks to see family around Burnley, and to watch the football.”

Chumbawamba’s roots go back to art school in Maidstone and university in Leeds, but also Burnley, I believe.

“A few of us were in different bands around Burnley. We were part of something called the East Lancs’ musicians’ collective, which came from Theatre Mobile in Hammerton Street, at a theatre there. A call went out to musicians, and people turned up from all over. There was this feeling that here was something interesting – a happening. Some went on to organise gigs, to run a fanzine, a disco … From those roots everyone was energised to start bands, play music, and so on.”

Canadian Trip: Chumbawamba learn their lines at a Calgary folk festival in 2007 (Photo: http://www.chumba.com/)

Canadian Trip: Chumbawamba learn their lines at a Calgary folk festival in 2007 (Photo: http://www.chumba.com/)

You’d already met Danbert (Nobacon, who left the band in 2004), hadn’t you?

“Yes, he was a year younger than me at school, and I met him on a street corner through a mutual friend. He was wearing the most outrageous hand-made clothes, and I thought he looked interesting. In fact, I found out yesterday he’s now an American citizen, having lived there a few years now. He lives in a tiny place, like the Hebden Bridge of North-West America, around five hours from Seattle.”

There’s an American link with your other half too, I believe (photographer Casey Orr)?

Yes, she’s from near Philadelphia, so we tend to spend a lot of time there, although the air fares are pretty astronomical at the moment. We have two children – aged 11 and three – so that gives us more impetus to go back and forth too.”

Chumbawamba’s early years were part of that Thatcher era that so inspired you, politically and socially, initially as part of the anarcho-punk scene.

“Indeed. When I was in the Burnley musicians’ collective, I’d go across to Manchester to their collective, which included The Fall and Joy Division, setting up their own gigs before they became famous. I was part of that, then moved to Leeds, after a few months in Maidstone, and it was The Gang of Four, The Mekons, and all happening. Looking back, I think I was so lucky, ending up with those connections that obviously really inspired me and made me think about what I can do with my life and how to go about it.”

footnote_originalA lot of that story features in Boff’s 2004 autobiography, Footnote, and since then – after three decades – Chumbawamba have split, with their last gigs in October 2012. So is the door definitely closed on all that?

“The only reason I would even hesitate and say there’d be a small chance of reforming is because we all still get on. But we had lots of meetings where we said, look, it’s been 30 years. Let’s just stop with some dignity and pride and love of it intact.”

In the meantime, Tubthumping has proved to be something of a pension plan for the band, hasn’t it?

“Yes … unwittingly … one song in 30 years!”

You must think, ‘hang on, we did actually do quite a lot of material that we’re proud of’?

“True, but that’s especially the case in America. At least over here, people have a bit more of an idea that we were involved in all sorts of things. But over there, there’s just one song.”

You’ve probably done very well out of royalties from sport – be it football or rugby.

“I think so, but I’m not sure. I think the amount of money you get for things being played at stadiums is just pennies. There was a time when Blackburn Rovers, Leeds United and Burnley were all playing it, for teams to run out to. It’s quite hilarious really.”

Do you still play and sing a bit outside of the theatre work?

“I still do the odd things here and there, because I just can’t stop.”

You used to say you had done well despite a limited ability as a guitarist. Is that still the case?

“Still the same. I like the idea of saying to people learning that your technical ability shouldn’t hinder you being able to do something creative and interesting. I discovered early on that the art of songwriting was much more important to me than the art of playing the guitar well. I think it’s great that some people are fantastic musicians, but I’ll never be one of those!”

Finally, I understand you have a great affinity for Pantheism, something you’re looking to write songs about as a soundtrack for walks and runs across forests and mountains, accordin gto your website! Can you sum up that philosophy in 20 words or less?

“I probably can, although it may not be a very good explanation. It’s basically … by taking a supreme being out of the equation, what we’re left with is this responsibility for us, and the earth and everything in it. It’s that connection – to nature and everything from sunlight to geo-politics and starvation.

“If I’m going to have a faith or belief in something, I’d rather it be something where I can feel a connection to the earth. But I think that’s more than 20 words, right?”

* For a sneak preview of Wrong ‘Un, follow this link here

* And for information about tickets for the show – which started its 2014 run with January 16 and 17 dates at the Lowry Studio – and more about Red Ladder Theatre Company productions, head to http://www.redladder.co.uk/

* To learn more about Boff Whalley, try his website at http://www.boffwhalley.com/

* An earlier version of this interview was first published in the Lancashire Evening Post, with a link here

* With thanks to Jane Verity at the Red Ladder Theatre company, and Hannah Hiett at The Lowry

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

What to expect in the Premier League in early 2014

pre-leaOn the verge of the New Year, writewyattuk gets the crystal matchball out and takes a punt on what we might be reading about this time next month concerning the English top flight, club by club.

arseArsenal 

Arsene Wenger pledges to ensure his over-worked Arsenal players take on no more than two Premier League matches a month, after a recent dip in form. This leads to a major row, with the Gunners unlikely to complete their league fixtures until October. But the move is defended by keeper Wojciech Szczęsny, who says the change gives him a chance to hone his ballroom skills ahead of the Strictly Come Dancing 2014 series and work on his javelin prowess for Poland at the 2016 Rio Olympics.

Aston Villa

Paul Lambert reveals details of a new plan to get the best out of his side at home, switching home matches from Villa Park to Birmingham’s new claret and blue-donned library on Centenary Square. Rumours that the new setting will lead to a louder reception are put down to jealousy from Blues fans, as are fears that Christian Benteke’s confidence might be further dented by an outstanding library fine from 1997.

Cardiff City

Cardiff’s shock replacement for Malky Mackay, Ronald MacDonald, makes good use of extensive transfer funds handed over in a brown envelope by club owner Vincent Tan. The big-shoed boss invests in a new kit for the newly-renamed MacBirds, involving yellow tops with red and white striped sleeves and socks, with a whole range of tie-in Happy Hour offers leading up to kick-off (and rarely beyond) at the newly-renamed Malaysium Stadium.

chelsChelsea

Jose Mourinho ups the psychological ante with a bold promise to gift main rivals Manchester City, Arsenal and Liverpool three points each from their respective February, March and April meetings, promising to field sides built around stalwarts of the club’s 1971 European Cup Winners’ Cup victors. But newly-recalled skipper Ron Harris, inspired by a recent showing of Escape to Victory, has other ideas, voicing his determination that his opponents will be pushovers. ‘Chopper’ is overheard after a discussion with fellow defenders John Boyle, John Dempsey and Dave Webb, telling Mourinho: “Hang on a minute, boss, I think we can win this one!”   

Crystal Palace

Plans are afoot to see the Eagles revert to their former Glaziers nickname and move away from SelhurstPark to their original home, in time for Palace’s 110th anniversary. The first blueprints are submitted for an architecturally-ambitious fully-glazed stadium, complete with a retracting, conservatory-style roof. Rumours circulate that manager Tony Pulis is against the move for health and safety concerns on account of his favoured aerial style of football. But on record, all he says on the subject is a cryptic, “Teams that play in glasshouses should always switch floodlights off before getting changed”. This leads to much late-night television study on football philosophy, and reputedly even has Eric Cantona baffled.

Everton

Manchester United make an audacious bid to take Roberto Martinez to Old Trafford following his promising start as the Toffees’ boss. Asked whether this smacks of desperation after previously poaching David Moyes from Goodison Park, United director David Gill admits Moyes’ appointment might have been a genuine mistake. “We thought his Scottishness was the key factor, but maybe it wasn’t. We want to try a new approach now. Take into consideration that we were stuck with the last dour Scot for 27 years. It makes sense to act fast, before the new guy gets too comfortable in his role.”

fulhamFulham

Rene Meulensteen shows his commitment to the cause by moving into the listed building that gives the ground its Craven Cottage name. The Dutchman’s appointment in December was greeted with news that he was buying furniture ahead of his switch from Cheshire. But his inherited squad are still surprised as Meulensteen breaks away from a training session to direct a clutch of removal men waiting by the famed Cottage Pavilion. News of the move is greeted by Fulham fans as a positive sign, not least with previous incumbent Martin Jol having opted for a Dutch barge moored downstream at Chelsea Harbour Pier.

Hull City

KC stadium owner Assem Allam stages a press conference to let Hull supporters know he is willing to compromise on his headline-grabbing plan to change the club’s name. The Egyptian businessman reveals, following talks with Cardiff owner Vincent Tan, that the Humberside and South Wales outfits will – if both relegated within the next two seasons – merge as Hulldiff City, playing home games at Birmingham City’s St Andrew’s, as it’s ‘kind of equidistant’. Mr Allam says: “Cardiff and Hull have quite a bit in common. For a start, Hull will be 2017’s city of culture, and Cardiff is …. Erm, well, the capital of … erm, Wales.” He added: “All I’ve heard since I’ve got here is ‘City this, City that’. That has annoyed me to a certain extent, but I’m not above agreeing to some of the supporters’ ideas – as proved by this proposal.”

Liverpool

Brendan Rodgers reveals what he sees as the secret behind his team’s resurgence, as the Reds look to keep up their winning start to the season. Rodgers suggests in a candid interview that fortunes changed after that infamous ‘biting’ incident involving Luis Suarez and Chelsea defender Branislav Ivanovic. The Anfield boss says: “He was always a good player, but Luis struggled to keep his balance and was prone to fall over in key areas of the park. But when I advised him to review his diet and suggested he look at a high-fibre, bran diet, he took me quite literally. A little piece of that Serb lad is in his game now, and seems to have made all the difference.” However, the Reds boss would not be drawn on fears that other strikers might now be queuing up to bite Ivanovic to improve their own all-round game.

man cityManchester City

Manuel Pellegrini shocks Man City fans by loaning England goalkeeper Joe Hart back to hometown club, ShrewsburyTown. The City boss, on the back of a purple patch of form for his team, says, ‘No one player is bigger than the team, even if they’re 6ft 5ins. That includes Joe, who has shipped a few goals this term.” Pellegrini feels Hart would benefit from ‘getting back to basics’ at New Meadow. Unfortunately, Shrews boss Graham Turner has other ideas, telling the local press he is more than happy with Chris Weale’s form, and wouldn’t be rushing to replace his No.1. In the meantime, Hart is spotted on the Severn, behind the club’s former Gay Meadow home, trying to get to grips with a coracle, telling puzzled on-lookers ‘high balls are meat and drink to me’.

Manchester United

David Moyes’ bid to emulate Sir Alex Ferguson’s achievements at Old Trafford takes a surprising turn when the new boss repeats history by snapping up 57-year-old Viv Anderson, who was Fergie’s first signing. Asked why he thought this would help stabilise his squad after such a shaky start, Moyes said: “Viv really is the business. No doubt about that. It’s about building for the future, and – difficult as it is to believe – there will come a time when I won’t be able to rely on Ryan Giggs for everything. Giggsy’s still only learning the game anyway. Perhaps he just needs a bit of experience around him.”

Newcastle United

In a poll of media pundits and red-top tabloid rumour-mongers, Alan Pardew receives a measly one per cent of votes for the choice of ‘most newsworthy’ boss in the Premier League, something the Toon boss sees as ‘surprising’. After several years upsetting viewers and fans alike with rash actions and words, the Wimbledon-born boss is singled out as being ‘low box office’ of late. Furthermore, he has quietly become the third longest-serving Magpies manager in 25 years, going back to the era of Arthur Cox and Willie McFaul. One journo says, “He’s hardly even worthy of the label ‘ridiculous’ these days. He hasn’t so much as pushed a match official over in more than a year, nor been misunderstood or misinterpreted in post-match interviews. It’s a bit disappointing. I can’t believe his side are in the top 10 this season either. Sometimes I wish Joe Kinnear was back here, with his entertaining foul-mouth antics. And what we’d give to see Dennis Wise return. In those days the press pack all stood together … against the management team.”

norwichNorwich City

Plans by Chris Hughton to change his image have hit the buffers, insiders at Carrow Road reveal. The popular clubman, in charge of the Canaries more than 18 months, said in early December he was prepared to turn nasty if it helps his struggling side climb the Premier League table, following embarrassing 5-1 and 7-0 thrashings at the hands of Liverpool and Manchester United. But while his side remain above the drop zone, Norwich’s nice guy privately confesses he just can’t cut the Colman’s mustard when it comes to throwing wobblers. And one City player, whom we can’t reveal but whose name sounds a bit like Des Hooligan, told reporters: “He tried throwing teacups after one defeat, but spoiled the effect by asking if anyone took sugar and whether it was milky enough. We fell about at that point. The fact he bought us some fondant fancies when Delia had laid on a full buffet upstairs didn’t help his new No More Mr Nice Guy image.”

Southampton

Saints striker Rickie Lambert ruffles feathers within the England camp by suggesting his fellow internationals should turn out for at least four lower-league clubs before they get the nod from Roy Hodgson. The 31-year-old, who represented Marine, Blackpool, Macclesfield Town, Stockport County, Rochdale and Bristol Rovers before getting his break at St Mary’s, feels such ‘apprenticeships’ should be compulsory. He said: “I didn’t get where I am without a few cold, wet Tuesday nights at EdgleyPark and Spotland, and nor should my England team-mates. Some might argue that the likes of Wayne Rooney should get special dispensation. But while I agree he’s a special player, I’m sure he’d learn something from a three-month loan at Chester, where he could play alongside his brother John, or with his cousin Tommy at Vauxhall Motors.”

Stoke City

Potters boss Mark Hughes reveals a plan he feels could revolutionise the English game – playing matches without a referee. The Manchester United and Wales legend told the press after Marc Wilson’s latest dismissal: “I’m fed up with speaking to you guys after matches and moaning about poor refereeing decisions. There were a lot of decisions that left a lot to be desired again today. The men in black always seem to spoil the flow of the game, so why don’t we just do without them? We could pilot the scheme for a season and see how it goes. I can’t believe no one’s thought of it before, truth be told. If any issues arise from matches they can be referred to a football pools panel, which would replace those stiffs on the current disciplinary panels. Tidy.”

sunderSunderland

Black Cats boss Gus Poyet says he is ready to buck the trend and keep his side up, even if it means using visual aids. Poyet said he is fed up with hearing how the omens for the Black Cats do not look good. Only West Brom, in 2004/5, avoided relegation after being bottom of the Premier League at Christmas. But the Uruguayan remains chipper. He said: “We’re doing okay. We keep chipping away, picking up the odd point. And if the worse comes to the worse and we do go down, we’ll still be local heroes if we can just win at Newcastle in the first week of February. That’s our cup final. Taking that logic to the next level, I feel we should treat every game as if it’s against that lot up the road. So I’m working on a deal with the suppliers of Edgar Davids’ glasses, seeing if they can supply us 11 pairs with black and white vertical stripes on the lenses. That way, it will look like we’re up against Pardew’s mob every week. That could be just the fillip we need to press on and stay up.”

Swansea City

Swansea striker Michu says he is determined to recover from his latest injury and be back in the Swans’ starting XI soon, to help mastermind their return to form. And the Spaniard, recovering from another ankle knock, said he’d even be willing to deputise for wayward club mascot Cyril the Swan for a short while if it comes to it. He said: “I’ll play wherever the gaffer wants me. Out on the wing is okay, so a role as the mascot would help improve my fitness. Cyril has been in the news now and again for bringing the game into disrepute, and that’s an area of my game I fell I need to work on. It’s not about individuals, this is a team game. So if the gaffer wants me inside the swan costume, that’s what I’ll do. Besides, plenty of players in this league are experts at swan dives, so that’s another aspect I can concentrate on. Bring it on.”

Tottenham Hotspur

New boss Tim Sherwood says he is not interested in a lengthy Spurs contract. The ex-Blackburn Rovers title-winning skipper says he feels a ‘stupidly-long’ deal would only bring complications and too much expectation from the fans and owners. He says, “Anything more than an extra season would be a gamble. It piles on pressure. I’d soon lose my boyish good looks. The last thing I want is a situation where I end up on gardening leave after being potted. I hate bloody gardening. I’d rather take each game as it comes, but unfortunately those contracts aren’t out there. The thought of a three or five-year deal would do my head in. That’s a big responsibility – all that time tied to making banal comments about the strides being made ‘at this football club’ or ‘taking the club forward’. And anything I can do to avoid having to reassure fans that if I was cut down the middle they’d find blue and white in my veins is alright by me.”

west bromWest Bromwich Albion

Caretaker boss Keith Downing is fed up with high-scoring draws, the grouchy ex-punk rocker and robust ex-Wolves midfielder tells a press conference. After respective 2-2, 3-3 and 4-4 draws with Southampton, Everton and Aston Villa in January, he says, “It’s getting me down. I much prefer a neat 1-0 win. How I yearn for those good old days when late great David Coleman would announce ’One-nil!’ and Jimmy Hill would implore sides to just ‘shut up shop’. I don’t want to be reading about exciting affairs and the odd casual brace to save the game from Nicolas Anelka. Bring back those days when strikers would talk to the TV shows about how all they really wanted was a goal that goes in off your backside in a crowded area, without you even knowing anything about it. Everyone else enjoys this more attacking fare. But not me.”

West Ham United

Hammers boss Sam Allardyce announces he is bringing in a crack Russian medical team to help get injured players fit again and resurrect his season. Allardyce says his plan is a surefire method of keeping the East London outfit up. After centre-back James Tomkins twists his metatarsal on the touchline at Cardiff, and with no cash to splash during the transfer window, Allardyce resorts to a new approach. He explains: “I’m in touch with a couple of Moscow lads who were part of the mid-80s ‘medical factory No. 1’ op, a workers brigade using a Henry Ford-style conveyor belt for quick-turnaround eye surgery. Admittedly, myopic issues are more an issue for Premier League referees, but the same can be applied for my injured players.” Early details are sketchy, but it appears that five doctors in surgical masks and gowns will patch up the players, who will be fed into the Upton Park treatment room by conveyor belt. Allardyce added: “The deciding factor will be how quickly our injured players are back in the squad.”

 This Malcolm Wyatt article first featured on the sportnw.co.uk website and re-appears here with the permission of the author and its original home.

And to see how many of Malcolm’s predictions from 2013 came true, head here 

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It’s a wonderful life (and a marshmallow world, apparently)

I left it a little too late this year. You know how it is – all those work deadlines (some met, some over-hanging) and family commitments. The focused part of you wants to get your workload out of the way before school’s out for your children, while the other just wants to take it all in and enjoy all the distractions. And distractions don’t get much bigger than around this wunnerful time of year.

But I’ll crack on, having decided to offer you – with no expense spared – my humble (or humbug, if you prefer) guide to the joy of the Christmas song, followingly neatly on from last year’s Slade appreciation on these pages. And as it’s getting late in the ‘season’, I’ll keep the list down a little, not least because you’re probably heartedly sick of many of the songs mentioned by now – however great – especially if you’ve seen the inside of too many shops in recent weeks.

There will be a lot I’ve missed out – some for good reasons, others due to incompetence or a lack of time to properly research this feature. But I’ve gone for the heart time and again. Even to the point of embarrassment at times. However, if you’re scanning down to find any Mariah Carey or Wham! in there, it’s possible that you’ve come to the wrong place.

Wonderful Christmas: James Stewart as George Bailey with his fellow cast members from 1946

Wonderful Christmas: James Stewart as George Bailey with his fellow cast members from 1946

I could easily have added a rundown of the best possible televisual treats over the years too, but again what’s the point? Many of us have too much going on anyway. I have at least ensured a couple of windows though, with the Wyatt family Christmas well and truly up and running last weekend (with the tree already dropping needles left, right and centre by then of course), when I subjected my girls – now aged 13 and 11 – to watch Frank Capra’s magnificent It’s a Wonderful Life for the first time.

I’m pleased to say they admitted to liking it too, because there’s nothing worse than raving on about something for years, then finding it doesn’t quite match the hype you’ve created. And while James Stewart’s portrayal of George Bailey is a perfect way to see in Christmas, there are a few other worthy options too, be it the best of The Royle Family or Gavin and Stacey Christmas specials or a little Only Fools and Horses (and we at least get some David Jason on the screen this time around, which is a start). And The Snowman of course. Come to think of it, maybe I’ll look at that in more detail next year.

We’ve all got our personal plans for the coming few days, from cosy days in with good company and too much to eat and drink, through to the odd bracing walk or cold afternoons on the terraces, taking in a little festive sporting action. But if I can add anything, perhaps it’s just the odd suggestion on the music front for the soundtrack; a few yuletide vinyl treats from me to you.

Wizzard Time: Roy Wood and his band from that magical year, 1973

Wizzard Time: Roy Wood and his band from that magical year, 1973

As has been mentioned before on this blog, Slade’s Merry Xmas Everybody will always be an integral part of this scribe’s ‘holiday season’, however many times it’s been played to death. And while no Christmas officially arrives until I’ve heard Noddy Holder announce ‘It’s Christmas!’, the same applies to Roy Wood at the tail end of Wizzard’s wondrous I Wish It Could Be Christmas Every Day, when he tells his young charges, “OK, you lot – take it!”

The fact that those songs were both from late 1973 – when I was just six – adds to it all. More to the point, my youngest daughter has somehow convinced herself I’m in the original Wizzard video. I might have slightly misled her through mention of the fact that those kids were around my age at the time, but nothing more … honest.

While we’re at it, that ’70s nostalgia means I also continue to get similarly misty-eyed – albeit to a slightly-lesser extent – listening to everything from John Lennon & Yoko Oko’s Happy Xmas (War Is Over), Greg Lake’s I Believe In Father Christmas, Bing Crosby and David Bowie’s Peace On Earth/Little Drummer Boy, and even Mud’s (admittedly-dire) Lonely This Christmas.

Jingle Bells: The Greedies' hit 45

Jingle Bells: The Greedies’ hit 45

By the time I’d discovered punk (not even in my teens, mind) I had another contender, one that also remains with me to this day, that gloriously-shambolic 1979 Phil Lynott, Steve Jones and Paul Cook effort, The Greedies’ A Merry Jingle.

That wide-eyed nostalgia continues to this day, and while I can quite happily forget (given the chance) most ’80s and ’90s festive offerings, a few stood out, if only as added soundtrack to my life. And as the years go on, I can still put up with a few of those (even the Boney M, Jonah Lewie and Waitresses offerings), at least once a festive season.

The same goes for Bruce Springsteen & The E-Street Band’s live stab at Santa Claus is Coming to Town, (ho ho  ho, indeed), plus oldies but goldies by the likes of Nat King Cole, and even Paul McCartney’s Wonderful Christmas Time, cheesy as it was.

That brings me on to a slight meander while I contemplate all the great acts that have failed to deliver a perfect Christmas song, not least my old favourites Squeeze, with the lack-lustre Christmas Day, or the Beach Boys’ money-for-old-rope effort, Little Saint Nick.

But I’m not here to grouch (or even grinch, perhaps). Instead, like that earlier mention of Mud’s big festive hit, it’ll be pure rose-tinted specs that ensures I continue to secretly appreciate A Winter’s Tale, when every fibre of my more radical being says it’s not cool. Just put it down to halcyon memories of the days when my older siblings were still at home, and I felt that David Essex was a regular visitor in the girls’ room.

Festive Classic: 1987's Fairytale of New York

Festive Classic: 1987’s Fairytale of New York

As the years dragged on the magic remained, although few new tracks stood out for me – save for the more obvious, like Band Aid original Do They Know It’s Christmas? (for very different reasons), until that Shane MacGowan/Jem Finer-penned The Pogues and Kirsty MacColl classic Fairytale of New York from 1987. The fact that we were robbed of the supremely-talented Kirsty at such an early age maybe even adds to the poignancy of that number. Let’s face it, I think we all expected dear Shane to be gone long before her.

Less of a chart success, but a big hit with me at least was The Wedding Present’s perfect festive-side offering Step Into Christmas, adding new life to Elton John’s not-bad stab at a festive hit (again from 1973, I might add).

A bit of high camp always works too, with a prime example found in Kylie Minogue’s shot at Santa Baby or The Darkness’ gloriously-tongue-in-cheek (at least I hope so) Christmas Time (Don’t Let the Bells End). Even the brackets are a bit Frankie Howerd, come to think of it. And while we’re at it, why not those Welsh sex-bombs Cerys Matthews and Tom Jones giving it large on Baby It’s Cold Outside too?

Christmas Tears: Freddie King keeps it real

Christmas Tears: Freddy King keeps it real

It shouldn’t just be about the big hits anyway, and I love Freddy King’s beautifully-miserable blues number, Christmas Tears, one of so many great tracks I first heard on the John Peel Show in my formative teenage years. Eric Clapton does a pretty fine version too, out of interest.

I’ll remain in that pre-’60s era to add Bing Crosby’s forever-young White Christmas, perhaps the Daddy of all festive hits, plus Louis Armstrong’s Zat You Santa Claus? In fact, anything involving, Bing, Louis and Frank Sinatra tends to work.

You can add Elvis Presley’s offerings over the years, not least Blue Christmas and Santa Claus Is Back In Town, and probably a few more gospel numbers and carols from that great source too. Silent Night always lends itself perfectly to  the Christian/pop crossover too, so I’ll a little Martha Reeves or even Sinead O’Connor’s run through that for a start, although Simon & Garfunkel’s 1966 track 7 O’Clock News/Silent Night was perhaps even more poignant.

Motown also had its fair share of not-quite-right Christmas tracks, but there were plenty of good ones too, including several Four Tops, Jackson Five, Miracles, Supremes and Temptations’ yuletide efforts. But not even those proved the benchmark for me.

You might already have sussed where this is leading to, keeping my powder dry before my own tribute to what remains the greatest Christmas album in my mind, Phil Spector’s A Christmas Gift For You.

Gift Wrapped: Phil Spector's A Christmas Gift For You

Gift Wrapped: Phil Spector’s A Christmas Gift For You

OK, like Joe Meek before him, we may have something of a complicated man behind it all, but a genius nevertheless. And listening to Darlene Love – perhaps the real star on this wondrous slice of vinyl history – talking all about it 50  years on, it became all the more clear what a great piece of work this was.

The lady herself was chatting on the phone from her Stateside home to Absolute Radio’s Pete Mitchell, in what proved an illuminating interview, for sure. If you missed it, try and dig out a listen.

From Darlene’s White Christmas to The Ronettes’ Frosty The Snowman, The Crystals’ Santa Claus Is Coming To Town, and so much more, what’s not to love?

Darlene let on a few secrets about that recording, something she still feels immensely proud of all these years on. And so she should. It’s pointless me going into the finer details now (I’ve still got a lot to do, for a start), but if you’re not thinking of doing so already, I’ll just ask that if you play one album as you tuck into your Christmas dinner tomorrow, this is the one.

And a merry Christmas from all at writewyattuk while you’re at it.

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Martha inspires 53 Degrees in a December Heat Wave

Heat Wave: Martha Reeves in action at Preston's 53 Degrees (Photo from her official Facebook page)

Heat Wave: Martha Reeves in action at Preston’s 53 Degrees (Photo from her official Facebook page)

I’ve just re-read the chapter dedicated to Martha Reeves in Gerri Hirschey’s excellent 1984 biography Nowhere to Run – The Story of Soul Music.

It includes a description of the Alabama-born, Detroit-raised chanteuse warming up for a post-Vandellas era show in Manhattan, putting a pick-up band through their paces.

nowhere to runClearly, the fire still burned deep for this iconic entertainer, 20 or so years after her major breakthrough.

And I’m pleased to say that another three decades down the line, Martha still has that stage presence, wondrous voice and ability to coax a band to step up a few gears, judging by Saturday night’s set at Preston’s 53 Degrees.

In fact, this Motown legend rolled back the years to prove the promoters’ claim that Preston’s Got Soul during a blistering late-night set at the University of Central Lancashire venue.

Martha went down a storm with a devoted audience, proving to be the icing on the Christmas cake at a festive party with a difference, and a hit for ’60s soul lovers of all ages.

After a 220-mile round-trip to East Yorkshire for an ill-fated football match that day, the thought that the main act wasn’t set to take to the stage until 11pm was daunting.

But I need not have worried, Martha belting out a winning 90-minute set, treating a packed house to a number of Motown classic hits, cult near-misses, and even two carols.

martha nowhereCome to think of it, she turned this celebrated venue into something of a church, a place of worship, quite apt with her gospel background and love of the influential Della Reese, who inspired far more than just a band name for Martha.

If there was any doubt that the 72–year-old was still on her game, it was soon dispelled, Martha grooving with the best of them, banging that tambourine, and hitting all those high notes.

This was no through-the-motions live public appearance, the main attraction’s delivery never less than heartfelt, perfectly backed by an eight-piece band with a far younger average age.

come and get marthaFrom 1966 Martha & The Vandellas opener I’m Ready For Love to 1967 b-side One Way Out, and her 1963 breakthrough Come And Get These Memories onwards, this was an impassioned set.

Martha’s voice is still one to be reckoned with, powerful yet tempered perfectly to fit the mood. If anything, it’s even more awe-inspiring, working on another level.

And while there were no Vandellas in attendance – she’s said in the past, ‘men broke up my group’ – her band knew when and where to turn up the heat – although always on her say so.

A four-piece brass section and a bassist from Glasgow, a Parisien keyboard player, an English guitarist (he wasn’t more specific than that) and legendary New York drummer Larry Crockett certainly knew how to rein it in until the moment was right.

This was an eight-piece built in the tradition of all those great Motown and Stax revues that took Britain by storm in the ’60s, and on the night Martha was happy reminiscing about her Christmas ’64 UK visit – a staggering 49 years ago.

If the first three songs announced her arrival, the next number set the house ablaze, with 1965 classic Nowhere to Run remaining nothing short of inspirational, Martha and co. lapping up the audience response and raising their game with a timeless song that epitomised not only that era, but every bit as relevant to today’s generation.

preston soulMartha was just the latest prestigious draw for Preston’s Got Soul, following Northern Soul legend Dean Parrish to the Fylde Road venue a few months before, and she knows just how to work a crowd.

She was also willing to pass on a little seasonal dating advice, on a night when she added fizz with some shameless – though tongue-in-cheek – flirting with one amorous fan down the front, telling him to be patient (“I ain’t going nowhere, baby!”).

Slow-building 1965 b-side Love (Makes Me Do Foolish Things) followed, before a tribute to Michael Jackson, a missing member of her ‘Motown family’, with her take on The Jackson Five’s I Want You Back.

Next up was 1967’s crowd-pleasing Jimmy Mack, which threatened to raise the roof again, Martha joking with her audience that she’d sung that song 50 years and it still didn’t have a happy ending – she was still waiting for that ‘old man’ to show.

The 60s soul aficionados in the house (and there were a fair few) then delighted as she flipped that particular 45 to give us Third Finger Left Hand.

Those 1964 festive memories were rekindled with a touching Oh Holy Night that would have given the most committed non-believers cause for reflection.

heat wave marthaMartha then turned the screw again with a wonderful run through 1963’s (Love Is Like A) Heatwave, including a sing-and-respond extension in which she asked her devoted crowd if their love life was ‘hot, hot, hot’.

I guess that was the song that turned me on to Martha, albeit first through The Jam’s blistering version on Setting Sons, itself bettering The Who’s cover for me.

In the same way that I appreciated Otis Redding’s rougher edge to early Marvin Gaye, I also found Martha and the Vandellas more earthy, and a little more real than the Supremes.

A more recent blues tribute, dedicated to her parents, followed, Watch Your Back, followed by 1964’s searing In My Lonely Room and the Johnny Bristol-penned 1971 post-Vandellas single No One There, all lapped up by an appreciative Preston in-crowd.

Martha had already introduced ‘Mr Sticks’ on drums, and now handed over the mic to the rest of her band, highlighting that heady five-part Scottish, one-part English and one-part French cocktail that added such zip.

martha dancinThe set was heading for its climax now, Martha building the anticipation with a rundown of several acts who had hits with her Gaye/Stevenson/Hunter-written closer Dancing in the Street before letting rip, telling us loudly and proudly – though with a big smile – ‘it’s my song!’

Again, you could feel the love, perhaps proving more than ever that this was always more a party song than a call to riot, despite the troubled times it was written in.

The compere briefly returned to lead the ovation, but Martha hadn’t finished yet, coming straight back on for a poignant Silent Night before returning to fever pitch for a classic soul medley to close the show.

This time, a Dancing in the Street intro fused into The Four Tops’ I Can’t Help Myself, Stevie Wonder’s Signed Sealed Delivered I’m Yours, and Eddie Floyd’s Knock on Wood.

Again, it struck me how much she’d been a part of such a golden scene, not least through her A&R secretarial days at Hitsville USA when Little Stevie Wonder first appeared on the scene – alongside the Miracles, and so many more great acts and moments.

Pretty soon, while we paused for breath, she was heading backstage, with the DJs back on the decks. Yet she quickly promised to return out front for a meet-and-greet session, further delighting her fans as a night to remember continued apace. And Amen to all that.

* If you enjoyed this, you might also like the writewyattuk appreciation of Otis Redding here 

* For more details about Martha’s December UK tour and tickets details for her remaining shows in Glasgow, Aberdeen, Plymouth and Bristol, check her official Facebook page here

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Glenn Tilbrook – 53 Degrees, Preston

I’ve said it before, but I’m pleased to see 1991 Squeeze LP Play getting some kudos again all these years on.

And it seemed fitting that Glenn Tilbrook started off his solo show at Preston’s 53 Degrees with one of its stand-outs, The Day I Get Home.

New Album: Happy Endingh, exclusively on sale on Glenn's tour (Photo:  http://www.packetofthree.com/)

New Album: Happy Ending, exclusively on sale on Glenn’s tour (Photo: http://www.packetofthree.com/)

While Play was largely conceived in LA, I equate it with the short winter days when I first heard it, so a lethargic Sunday evening in early December fitted perfectly.

The fact that Glenn, still suffering a little man-flu after a gruelling schedule that started stateside and just kept going, is not so far off concluding the current leg of a ‘never-ending’ tour probably added to the laid-back vibe.

These acoustic engagements can be a little nervy, not least when part of the crowd are hoping to just hear a greatest hits package.

But while not so many seemed to know his opener, Glenn soon engaged his seated audience with that fantastic vocal and blistering fretwork.

Warm Reception: Leslie Mendelson

Warm Reception: Glenn’s support act, adopted New Yorker Leslie Mendelson

He started with an appreication of his support, adopted New Yorker Leslie Mendelson, who charmed the assembled with her rather intimate yet somewhat powerful set, with more than a hint of Carole King, to name but one influence.

Tentatively stood behind her keyboard, she rightly earned a warm reception on a mild Lancashire night for the time of year, transporting us away with the pensive Coney Island and much more besides.

Glenn also  soon warmed to his task, telling us a tale about Beach Boy Dennis Wilson advising Squeeze not to split back in 1982, before launching into a song built around that encounter, Dennis.

There are a lot of name songs on his stripped-down new album, Happy Ending, which was available exclusively in CD form on the night, the artist selling copies at the back of the hall after his set.

But next up was a run-through Squeeze’s Take Me I’m Yours and a crowd sing-along to The Best of Times from his 2009 LP Pandemonium Ensues with The Fluffers, albeit with Glenn teaching us the chorus first.

The audience reverentially joined in as he moved on to 1981’s Labelled with Love. And if anyone had any doubt as to the wealth of Glenn’s solo work in comparison to his better-known material, next offering Ray further reminded us we were in the company of a true song-writing great.

A Grower: Play has lasting appeal, as proved by Glenn Tilbrook at Preston

A Grower: Play has lasting appeal, as proved by Glenn Tilbrook at Preston

While Glenn can clearly write, he was quick to applaud his long-time collaborator too, asking the audience to give Chris Difford a round of applause (also nodding back to him on the stage, despite his absence!), before launching into another Play high-point, The Truth.

That involved an extended guitar part, as was often the case on the night, this gathering left in no doubt as to Glenn’s mastery in that department.

Then there was the Beatle-esque Woman’s World from 1982 Squeeze landmark East Side Story, and Pandemonium Ensues’ Through the Net, dedicated by this 56-year-old father of four to ‘kids, eh!’ 

He briefly spoke about The Co-Operative, his project with Nine Below Zero, trying out Ter-Wit Ter-Woo, written with Dennis Greaves, and that was followed by Squeeze classics Up the Junction and Goodbye Girl.

Pretty soon, he’d switched to electric guitar for Slap and Tickle, rather alarmingly 35 years after its release, then The Co-Operative’s Chat Line Larry, while Black Coffee In Bed took me back to further vivid early ‘80s memories.

A more mellow Still was next, also from Pandemonium Ensues, and there was no way he was giving up that electric guitar now, the hits and near misses keeping coming.

From Is That Love? (its opening line still sending tingles down this blogger’s spine) to a rockier run through Untouchable from 2004’s Transatlantic Ping Pong, I was in awe.

Dapper Glenn: Backstage with Glenn Tilbrook

Lingering Cold: But Glenn Tilbrook proved his worth

Two further rocking numbers I couldn’t identify followed, the latter with a Chuck Berry feel, before he played us out with a rather wistful but no less powerful for it  Tempted.

As Glenn returned, he apologised for that lingering cold affecting his voice, but there was no real need. It sounded pretty good to us all the same.

He then carried on where he left off, with the fantastic Another Nail In My Heart and a show-stopping Pulling Mussels (From the Shell).

Yet for me it was his other encore that became the earworm, a short and snappy music hall tribute from the new platter, Ice Cream, dedicated to his Grandad, who apparently sang it to this musical legend in the making as he rocked him on his knee. And it didn’t take much coaching before we were singing “I’ll buy you an ice cream as big as your ‘ead’ too.

While Glenn might not have been – by his own admission – at his best, he wasn’t so far off. And we at least got our fix of GT before his next happy return to the North-West, hopefully with The Fluffers or perhaps even Squeeze in tow.

* For a recent writewyattuk interview with Glenn Tilbrook and a further link to a previous Squeeze appreciation, click here.

* For all the latest news from Glenn, including forthcoming dates, head to his official website here.

* And for more information, dates and releases featuring Leslie Mendelson, try this link.

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Glenn’s happy wending on the road

Strum Fantastic Ace: Glenn Tilbrook with his trusty acoustic guitar at Greenwich (Photo: Ferrari Press Agency)

Strum Fantastic Ace: Glenn Tilbrook goes acoustic at Greenwich (Photo: Ferrari Press Agency)

After nearly 40 years on the road, with the band that made his name and various solo and side-projects, Glenn Tilbrook remains as committed as ever to the live cause.

You’d have thought he’d have been ready for a break after a seven-week US stint, but the Squeeze front-man went straight out there again – for an extensive UK acoustic tour.

He’s cramming 33 more gigs in between his November 3 start and the week before Christmas, the last eight of which start this Sunday (December 8) at Preston’s 53 Degrees.

Then it’s Stockton-on-Tees ARC (December 10), Bingley Arts Centre (December 11), Barton-upon-Humber Ropewalk (December 12), Blackheath Halls (December 14), Brighton Komedia (December 16), Reading South Street Arts Centre (December 17) and finally Southampton The Brook (December 18).

Glenn’s Happy Ending tour – thankfully the name of his new album rather than notice that he’s about to hang up his plectrum – is his first completely-solo UK tour in four years.

As you’ll know, Glenn is one of our most treasured musicians, his output including three top-five hits – Cool For Cats, Up The Junction and Labelled With Love – and 12 original studio albums with Squeeze, another LP with the band’s co-founder Chris Difford in 1984, and three more on his own.

Spot the Beard: Glenn with his Squeeze bandmates

Spot the Beard: Glenn with his Squeeze bandmates

Add to all that the many compilations, collaborations, DVD releases and seemingly never-ending tour dates, and you realise this 56-year-old’s not one to rest on his laurels.

Away from Squeeze he’d already released 2001’s The Incomplete Glenn Tilbrook, 2004’s Transatlantic Ping-Pong, and 2009’s Pandemonium Ensues, recruiting his own band, The Fluffers, for that last one.

What’s more, in 2011 Glenn released The Co-Operative, a collaboration with cult South London r’n’b outfit Nine Below Zero.

In fact, the last few years have remained extremely busy for Glenn, having also returned to his roots with Squeeze for Spot The Difference, a 14-song collection of the band’s best-known hits, re-recorded as close to the original versions as possible.

The band then took to the road with their biggest UK tour in more than a decade, capping an exhilarating year in which Squeeze’s contribution to music was noted with the site of their first gig being awarded a prestigious PRS For Music Heritage Plaque.

That joined an ever-increasing list of Squeeze accolades, not least an Ivor Novello for Outstanding Contribution to British Music and their Nordoff-Robbins Icon Award, as well as the Mojo Magazine Icon Award.

Solo Flight: The Incomplete Glenn Tilbrook

Solo Flight: The Incomplete Glenn Tilbrook

Glenn’s 2011 tour saw him joined by Simon Hanson and Chris McNally, and was recorded each evening and made available at the end of the night from the merchandise stand, something Squeeze repeated on their 2012 Pop Up Shop tour.

He’s carrying that concept on for this tour too. And whether he’s playing to a club audience or to a festival crowd, he clearly still gets the buzz from playing and making music, as I soon found out.

Glenn was fresh from a date on the Isle of Wight and en route to Whitstable, Kent, when I caught up with him, four nights into his UK tour. So after all these years, does he still find it worrying taking on such a big commitment? And does he still get nervous?

“I do get nervous before a tour. I haven’t been solo acoustic for quite a while, so it takes quite a while to get used to that. But I think I’m already over that.”

Ping Sing: Glenn's second solo outing

Ping Sing: Glenn’s second solo outing

He clearly still has the buzz for playing live. But Glenn likes to test himself too.

“I like to make it up as I go along. It’s like when you learn to float in the water. You have to take that leap of faith and say it’s alright, it’s going to work. Now I’m at that stage that I know it does work, and I’m confident I can do more.”

Does he get to see something of the towns he visits other than the venues themselves and motorways in between?

“I try and look around everywhere I go, but travel in an American motor home, which I’ve had for about 10 years, and it’s really transformed the way I tour. So I do try and get out and about the country where I am and enjoy my time rather than just pass through.”

Does he have to avoid the country lanes in his big wagon?

“I’ve got a fairly good knowledge of where to go and where not to, but every so often you find yourself reversing down a country lane. At the moment I have the luxury of being driven though, so don’t even worry about where we’re going.”

And when he finally does get home, where will that be?

Fluff Justice: Glenn with his fellow Fluffers on the cover of the Pandemonium Ensues album

Fluff Justice: Glenn with his fellow Fluffers on the cover of the Pandemonium Ensues album

“In Charlton, South-East London, very handy for The Valley, where I’m a season-ticket holder (Charlton Athletic FC). Not that I’ve been at all this season – I haven’t been around. But I do like to go when I’m at home.”

Glenn has carved out quite a reputation in recent years for not only taking requests from the audience, but also inviting fans on stage to duet with him on guitar. So does that ever go drastically wrong?

“It’s one of the things about doing requests and part of the trust I have with the audience. If you do something like that, you have to be prepared to fail.

“Sometimes it does go wrong. You launch into a song and they say ‘no, actually I don’t know this’. But that’s ok. It’s alright, you can fail, do something else … as long as you don’t fail too often.”

And are there songs you fall out of love with and can’t bear to hear again, let alone play?

“Yeah … but I wouldn’t play them! It’s that simple.”

Dapper Glenn: Backstage with Glenn Tilbrook

Dapper Glenn: Backstage with Glenn Tilbrook

Glenn will be showcasing songs from his new album on this tour, as well as a few Squeeze favourites and maybe even the odd cover. CD copies of the new album have been available initially at his tour dates, before January’s New Year vinyl, CD and download release package.

Happy Ending features what the artist suggests is a ‘stripped-back sound, a totally different feel to previous releases’. Tell us more, Glenn.

“Musically, my starting point was Tyrannosaurus Rex and the Incredible String Band. Acoustic guitars and bongos, that sort of thing. It doesn’t sound anything like that now, but that’s how it started. No electric guitars and no drums.

“I called it Happy Ending because I just like the sound of the title. The album itself is a mixture of narrative-driven story-lines. About half of the songs on the album are names of people, a mixture of people who are either real or imagined, it’s a mixture of both.

“I’m also getting political with a small ‘p’. On songs Everybody Sometimes and Rupert I’m thinking about how justice and Government in this country seem to be seriously skewed at the moment.

“My second-eldest son went to protest against student grants being cut a couple of years ago and was held for seven hours, while a friend of his – one of the gentlest I know – was charged for assaulting a police officer, which didn’t happen. Yet the police pursued the case for 18 months, with the threat of jail hanging over him.

“They put all that time, effort and money into doing that, and I know it’s an isolated case, but when you look at that and then look at the people who financially brought this country to its knees, they seem to sail off into other well-paid jobs. I really resent that lack of cohesion up and down the social scale.

Band Aid: The current Squeeze line-up

Band Aid: The most recent Squeeze line-up. Photo copyright: Danny Clifford

“But try getting all that into a three-minute pop song! It’s got to be interesting too, and it’s got to be tuneful, so I think I’ve done that. That’s what I’m trying to do – write about things I feel about.”

I know you’re chiefly seen as the melody man, weaving your magic with all those great words from a certain Chris Difford. So who’s penning the words on this album, chiefly yourself?

“I wrote all the lyrics on this record, and I’m really enjoying that spate of writing.”

Are there collaborations as well, people brought in on the album?

“I recorded with Simon Hanson, who plays drums with Squeeze and The Fluffers, and Chris McNally, who again toured with me. He’s half my age, but we’ve written songs together and I really like working with him. Then there’s Chris Braide, from Warrington. I’ve known him since he was 17. He’s now in Los Angeles and works with people like Beyonce. We get on really well and really love working with each other.”

Any celeb appearances this time? Johnny Depp and Vanessa Paradis were on the last album. Will they be on this one?

“No, that was definitely a one-off! It was really great fun though.”

You had a little help last time around, but this time you’re completely solo – is this your way of testing yourself after all these years, keeping it fresh maybe?

“Absolutely. I like that. A couple of years ago I did an album with Nine Below Zero. It was a real privilege to work with such a great band, and we absorbed a bit of what each other does. And I guess this tour is another extension of that.”

I told Glenn how I’d heard his version of One Day I’ll Fly Away recently, and how he seemed to totally own that song – as if Randy Crawford had covered one of his songs rather than the opposite! Will there be any cover versions live?

“I absolutely adore that song. And there will be, yes.”

ZZ Top: Glenn complete with guitar and goatee (pic courtesy of BBC)

ZZ Top: Glenn complete with guitar and goatee (pic courtesy of BBC)

A big question now – probably one of the deeper ones you’ll hear. Are you still sporting that beard? The bulk of the tour is in Movember, after all.

“No I’m not. No facial hair action with me. It’s something I wanted to do, and I kept it for longer than I was going to. So many people hated it, but I enjoyed that reaction!”

Is there anyone out there you’re listening to at the moment and want to work with – established or up & coming?

“There are two young bands I really like. A band from New Jersey called River City Extension and some Australian band called Millions … although I should declare an interest, as my two eldest sons are in it!”

Will there be a pop-up style shop facility at the live dates, offering live official bootlegs and so on?

“Yes, I’ll be there, signing away, selling mugs, t-shirts, albums, DNA samples, whatever you like!”

Is there still plenty of life in the album format in this day and age of Spotify, downloads etc?

“There’s room for it. I’m thinking about what to do. On this tour I’m selling Happy Ending as a CD, but in the New Year I’m getting it cut as a vinyl album, and from next year I want to release everything in one format – a vinyl album that contains a CD and a download. There’s no choice – you get the one thing then choose what you like from it.”

Dynamic Duo: Glenn with Chris Difford (Photo copyright: Danny Clifford 2009)

Dynamic Duo: Glenn with Chris Difford (Photo copyright: Danny Clifford 2009)

What’s Chris up to while you’re out on the road?

“He manages The Strypes.”

A friend of mine (my fellow scribe Jim Wilkinson, who strummed along on Labelled With Love with Glenn live at The Witchwood in Ashton-under-Lyne once) reminded me about a shared appreciation with Chris of Lou Reed in your early days? Did Lou’s recent death have an impact on you?

“He was a big influence. You wouldn’t really hear it in Squeeze, although John Cale produced our first album. But there was all that stuff, and it was the parting of a legend – very sad.”

I had a lot more questions still to come at that stage, but Glenn had to fit in a whole load more interviews and my allotted 15 minutes (with a few more sneaked in) was over. So I missed out on asking a bit more about Chris Difford, Jools Holland, Paul Carrack, The Fluffers, his friendship with The Alarm and Big Country’s Mike Peters and their work with the Love Hope Strength charity … and when Squeeze might be getting back together.

But I did manage to get a question in that led to a further Lancashire Evening Post piece, for a regular feature, asking Glenn about his most mortifying moment. And he didn’t have to think long before coming up with the answer, re-living a harrowing experience more than three decades ago as if it happened the day before. So I’ll leave you with a potted version of that.

“Many years ago, in 1982 I think, I was singing Up the Junction to a crowd where Squeeze were doing a small gig in Camden.

“The song was already three years old by then, and I already knew it very well. But I’d had some cheese on toast before I left home and I found myself wondering in the middle of singing Up The Junction whether I’d turned the grill off or not.

“It was like I’d woken up in the middle of the song and I had no idea where I was. The crowd turned into an Alfred Hitchcock-esque sea of faces pointing and laughing at me, and I had to somehow pick up the thread and carry on.”

It appears that the end result proved somewhat calamitous for Glenn, and might even have led to a change of career.

“That really spooked me, and ended up giving me serious stage fright, so I started having notes all over the floor. And the more you do that the more you rely on them, and the more you trip yourself up the more scary it becomes.

“I actually had to give up gigging for a year after that, but then I thought ‘hang on a minute, I’m absolutely terrified of going on stage now whereas I used to love it – what’s going on here?’

“I did love it, so plainly if this was going to cause me so much bother I should either find something else to do or get back up in the saddle – I couldn’t carry on feeling that way.

“So I did a couple of low-key gigs without any notes, and I was petrified. But I got through them, and then thought if I stuff up, no one dies. It’s alright. It’s about putting some sense of perspective on it. But it really, truly was a mortifying moment.”

And needless to say, 31 years on Glenn’s still going strong, as those who have just caught him live or are about to in the coming fortnight will find out.

* For more details about Glenn Tilbrook, his current UK tour and the new album, head here and for the official Squeeze website try here.

* For an appreciation I penned on this here blog about Squeeze in October 2012, check out this link here

* And for a review of Glenn at Preston’s 53 Degrees in December, 2013, try here.

* This feature is a longer, revised version of a Malcolm Wyatt interview with Glenn Tilbrook that appeared in the Lancashire Evening Post on December 5 (original piece here).

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