Monday, 30 July 2018

Poem: 'THE OGRES OF MIRÓ’S CHILDHOOD'




THE OGRE’S OF 
MIRÓ’S CHILDHOOD/ 
RUNNING ON THE INCH BUTTON 



as of now, we are
following the phosphorescent
trails of snails, jazz-frantic
through psychopathic weed.
You splashed lurid in spray-paint, & me
sprouting a forest of aerials and mirrors.
Looking at you, I know
you can freeze gravity
without the sensory assistance
of touch, with just your pout

we chase the same poems, you & I,
they just wear different words
and get scrambled through different
dogs-eye views of TV screen images

as of now, you are,
admit it, Nefertiti, and tonight I’m
eyesore from epileptic cello bop
& Department Store Decadents.
Leeds could pass for the city of the dead,
as we roll down streets made faceless
by the metal-fatigued flatness
of shop-shutters. Chain-whipped
by a confusion of voices,
& street-lamps that throw
pools of light at nothing

you’re now
the Mad Scientist’s beautiful daughter, &
I cut through the skeletons of buildings,
the victim of the night, and,
as of now,
we follow the phosphorescent
trails of snails through the
ogre’s of Miró’s childhood,
bare feet crunching
on broken glass



Published in:
‘GYPSY no.1’ (Germany – September 1984)
Featured online at:
‘GYPSY ART SHOW’ (24 July 2018)
https://www.facebook.com/groups/gypsyartshow/


Sunday, 29 July 2018

Poetry CDs: 'Motormouth' NICK TOCZEK



FROM BRATFUD, 
WITH ATTITUDE 

 Album Review of: 
‘MOTORMOUTH Volumes 1, 2 & 3’ 
by NICK TOCZEK (SOUND SHACK RECORDS) 


On the Bradford alt-lit scene Nick Toczek is a sole illuminating continuity – well, apart for Joolz Denby… and maybe there’s a case to be made for the late Steve ‘Seething’ Wells too, but yes, ‘R‘N’R: Rock ‘n’ Reel’-regular and original ‘Wool City Rocker’ Nick has been around long enough to be a familiar fixture on multiple scenes. You know “Responsibilities” on volume one – it’s the infernally contagious voice-over for 2002’s Prudential TV-ad, the one that goes ‘our kids, who’ve grown and flown the nest…’ A self-confessed bald bloke in a Bob Marley T-shirt, he uses catchy rhyme, and makes it work, fuelling jagged bits of Punk-Ranting energy through “Hey! Wow! Zap-Pow!” dropping spiky grit into the word machine.

Unlike his YouTube clips this is just voice, unplugged. A virtual reading, complete with intro’s. Face-to-facing himself. He motormouths accessible narratives about smokers outside pubs and overnight snow in found language, about thingummy who loves whatsisname. Bits of tourism from Qatar, Athens, Spain, Istanbul, and the Cairo ‘tooting car-men’, but mostly Bratfud where ‘this city eats itself’. Words cleverly collide in rhyme, riffing, quipping, in zigzag ricochets, piled-up crumpled and impacted, smashed, shape-changed, punchlined, reinvented, spat, shat and bled out. Yet, although it’s never less than sharp, and he tunes his street-cred appropriately with a junkie friend and ‘girls as pretty as petrol bombs’, for a supposed Brit-anarchist there’s little that’s dangerous or confrontational. At least, not here. While the notoriously anti-biz Sound Shack label don’t mess with new-fangled website mail-order, you must order these CD’s in actual shops, or trundle along to a live gig, but at £2 a pop, or just £5 for all 56-tracks it’s a deal worth hunting out (or get them from Nick’s own Blog).

Published in:
‘R2: ROCK ‘N’ REEL’ 
Volume.2 No.38 (Mar/April) (UK –March 2013)


Thursday, 26 July 2018

Prog-Rock Interview: PYE HASTINGS of CARAVAN



‘CARAVAN: MORE 
CUNNING STUNTS’ 
- THE PYE HASTINGS INTERVIEW - 

 An interview with Pye Hastings to coincide with 
the release of the 3-CD Deluxe Edition of: 
‘IN THE LAND OF GREY AND PINK’ 
by CARAVAN 
(Deram 5333161, May 2011)



I have to ask it. I just can’t resist it. Pye Hastings – prime motivating force behind Caravan, that 1970’s caravanserai of strange and esoteric musics, Pye, ‘If You Had To Do It All Over Again…’, would you, or would you do it differently? “No matter how much you try, you can never recreate something exactly after a number of years have passed” he replies. It was, in part, a spoof throwaway question. But he answers it in serious measured tones. “Particularly nowadays with technology moving as fast as it does. The intention might be the same but the sound would be different. Your voice lowers as you get older, your playing – hopefully, would have matured, and the change from analogue to digital recording has improved so much that the possibilities are now endless.” In response to a part-spoof throwaway question, he’s opening up answers with endless possibilities. What else would you expect? Wasn’t that the entire strategy pursued by Caravan itself, through a series of wonderfully strange songs, oddly enticing albums, and cunning stunts?


Of course, there’s an entire Celebrity-Culture today of ‘X-Factor’ and ‘Britain’s Got Talent’ where the focus is exclusively on achieving Fame at any cost. It always seemed that something as shallow and superficial as fame was never the mindset of Caravan, or of the environment it moved in. “Of course Caravan wanted to be successful, still do” he argues back, “but the pressure nowadays is quite different. We never set out to be better than anyone else. We wanted to achieve success by writing good songs, playing our instruments as well as we could and hoping that people would buy into that. I like good healthy competition…”, then, unexpectedly, he goes off into an analysis of the pressures on ‘X-Factor’ contestants, “when your whole career can depend on whether you have a good performance on the day, then I think it can be destructive. Suppose somebody fucked-up during the show? – which believe me is entirely probable, then you would be out of the contest knowing full well that you can do it better. That can and, I imagine, has caused bands to break up. The other problem is that the judges on those shows only seem to define what constitutes a ‘Hit’ by comparison with what has gone before, a tried and tested formula or should that be ‘a tired and tested’ formula.”

By contrast, Caravan seem never to have deliberately conformed to formulaic Pop in order to get a Hit Single, although, if a track of theirs had accidentally achieved chart status – as, say, Pye’s chirpy catchy Pop-structured 3:04-minute track “Love To Love You (And Tonight Pigs Will Fly)” may well have done, I don’t imagine he’d have been dismayed? “I would have loved to have written good Pop songs” he concedes. “But we were contracted to produce an album at a time for the record companies, and from whatever we gave them they would select the most suitable track to get whatever airplay was appropriate. If we had written singles I think we would undoubtedly have reached a larger audience.” A shrug.

--- 0 --- 

Checking through a voluminous file of previous Caravan features and interviews, most of them conform to the same album-by-album talk-through history formula. If you want that, it’s already there, richly documented. Check out Wikipedia. This interview will not be like that. The list of questions I’ve scribbled down – while hopefully informed and relevant, will prove a little more stimulating, and not just retread the usual tedious path!

Caravan grew into one of the most enduring of British underground bands, emerging just as late-sixties Rock was evolving into its newly mature phase. They rose from out of the protean ashes of much-mythologised Wilde Flowers, the Canterbury entity that also fed Kevin Ayers, Robert Wyatt and Hugh Hopper into the original Soft Machine. As minds were busy blowing, horizons expanding, and possibilities becoming infinite, the Softs scored a contract with Polydor and hit the ground running with the single “Love Makes Sweet Music” in the February of 1967. A month later Pink Floyd stole their lead with “Arnold Layne”, an altogether more chart-friendly take on Pop-psych, so the Softs reconfigured their music, reset their controls for something infinitely more improvisational. While Caravan were hatching their own oblique course in a parallel, but related continuum. Or, as drummer Richard Coughlan recalls, ‘sitting about in the sunshine making up bits of music’ (in the BBC4 documentary ‘Prog-Rock Britannia: An Observation In Three Movements’). Pye tells how he was motivated to diversify into his own brand by watching Pink Floyd and Soft Machine, from the audience at the ‘IT: International Times’ gig at the ‘Roundhouse’.


Julian Gordon ‘Pye’ Hastings was born in Banffshire, Scotland, but he’d lived in Canterbury since he was twelve. Richard Coughlan was a former trainee dentist. With them in the first Caravan line-up were cousins David Sinclair (Hammond A100 organ, and Mellotron) and Richard Sinclair (Fender Jazz bass, vocals). According to ‘Record Collector: 100 Greatest Psychedelic Records’ (Diamond Publ, 2005) this embryonic formation undertook labouring jobs on the Sevenoaks bypass to finance sharing a bohemian group-house in Whitstable enabling them to bond and rehearse as a collective. A ‘getting-it-together’ in the country scheme. When cash ran out they simply shifted into tents in Graveny village, supported by the sympathetic local vicar. Such intensive preparation paid off.

They played the counter-culture ‘Middle Earth’ venue in June 1968, signed to MGM’s Verve Forecast subsidiary, and recorded an ‘astonishingly assured’ debut album (‘Caravan’, October 1968). Their upward trajectory only skewed by the label’s abrupt collapse. Resigning to Decca’s progressive Deram label, ‘If I Could Do It All Over Again, I’d Do It All Over You’ followed in September 1970, involving wistful, eccentric songs and gentle avant garde playing. And the extended side-two medley “For Richard” with its jazzily laser-sharp keyboard moments played in magnetic fields that criss-cross and reconnect over twitchily chopping rhythms. Humour too, from the title track’s strangely disconnected lyrics about ‘lovin’ the stuff, the things that slows me down’, over the chanted ‘who do you think you are...’ as Coughlan adds congas, bongos, maracas and finger-cymbals to his drum-patterns. Some say the title was derived from Bob Dylan’s basement tapes, although I’ve been unable to track it back, others claim Spike Milligan said it, maybe neither, but just possibly elements of the surreal absurdity of both are at play.

Then ‘In The Land Of Grey And Pink’ arrived in May 1971, frequently quoted as their finest moment, with Richard’s carefree nonsense-tale of Pat the “Golf Girl” who talks in morse, and when it rains golf-balls they politely drink tea. It flaunts a quirky Ray Davies Englishness, with piccolo interlude from Pye’s brother Jimmy Hastings. And “Winter Wine” – also by Richard, a complex instrumental interchange ‘conjuring up midnight dreams of ancient castles dark’, wandering minstrels, heroic voyages, and Knights in armour slaying dragons, saving maidens. ‘Life’s too short to be sad’ it advises, using dreams to ‘pay the Sandman’. From the start Caravan were minting such gently engaging oddness, a durable whimsicality that established them as a classic and very English underground band, with their burgeoning Prog-Rock instincts allied to an underlying Pop sensibility. Classy fusions and Folk-Psych. Free-music, but tightly disciplined too. What Ian Carr termed ‘Elastic Rock’ given full rein, yet never less than tuneful.


That same November (1971) David Sinclair quit to join Robert Wyatt’s Matching Mole (a group-name derived from the French translation of Soft Machine!), to be replaced by Steve Miller from Delivery. The rich densely-musicianly textures and complex cut-up changes of the fourth album, ‘Waterloo Lily’ (May 1972) was equally well-received. Hints of vague perversity lurk in the title-track’s flexible ensemble playing too, ‘if you knew the kind of glue, she gums her eyelids with, realise, on those eyes, that’s a gum you’d rather not use’. What can it mean? Nothing related to the hair-gel Cameron Diaz uses in ‘Something About Mary’, surely? Yet again, there’s the quaintly English reference to drinking ‘a cup of char’. After its release there were swirling constellations of shifting personnel innovations, with Richard Sinclair also leaving to form Hatfield And The North – taking Miller with him, and bringing in Geoff Richardson (electric viola). Various replacements were tried, but it was only when Richard Sinclair rejoined Hastings, Coughlan, Geoff Richardson and American-born John Perry (Gibson EB3 bass, vocals) that Caravan’s music began to reach out to new audiences.


For the teasingly-titled ‘For Girls Who Grow Plump In The Night’ (1973) there’s Pye’s Lovecraftian “C’thlu Thlu”, an atmospheric weirdly-shaped tempo-change piece in 14/4-time, with effects produced by recording a bass drum backwards, hitting a cymbal, then re-recording the results through a phase box while speeding up and slowing down the master-tape. Unexpectedly, they even score an American success in 1975 where their seventh album, the malapropically-named ‘Cunning Stunts’, became a minor hit. And all the while the steady flow of new, inventive and stylistically distinctive albums continues, selling to a steady bedrock of fellow-travellers devoted to every aspect of the trip. Through until… pretty much now.


But – back-tracking a little down what they term ‘Memory Lain’, the internal power-structure of each band is different. Some have a single dominant creative figure (Ray Davies), others operate around a duo-ology (Jagger-Richard). For some bands each member is a powerful force in their own right (the Who). Others attempt a kind of democracy. What was the prevailing power-structure within Caravan? “When we started out we shared everything” he explains. “We thought that if, for instance, one person doesn’t write songs then it’s only fair that all the proceeds are shared out equally anyway. Because it’s for sure that that person would be contributing to the arrangements in some way and therefore deserves a cut. This is all very well when you are young and don’t need much, but as you get older and have to find more and more money to feed, clothe and school a family then the need to generate more prevails. It really is just a natural progression.”

Yet Pye is the single continuity throughout the long Caravan career-arc, did the successive line-up changes alter that internal power-structure? “Not in my mind. I’m sure it did in others though. I have always known what I wanted to achieve with the band. I haven’t always managed it, hence the personnel changes. My approach to the band has always been quite democratic but I suspect that some people quit because they were fed up with my trying to push them in a certain direction. Likewise I could get equally as fed up by being led. Changing band members can however be very rewarding in that new people bring new enthusiasm.”


The first high-level defections from the original Caravan line-up were David and Richard Sinclair, did their leaving cause a re-evaluation of the band’s priorities? “Dave was the first to leave and left a hole that was almost impossible to fill” he admits. “He was replaced, on Richard Sinclair’s suggestion, by Steve Miller who played a very different style to Dave. This necessitated a change. It became more jazzy, a direction which Richard was steering towards. It didn’t work well with the existing fans. I wanted to continue with a more rocky approach so a ‘head-on’ was inevitable. So Richard and Steve left.”

Caravan were part of the very first slew of Radio 1 ‘John Peel Show’ guest-bands (their 1968 Peel sessions preserved on the ‘Green Bottles For Marjorie’ album, 2002). What does Pye remember of them? Were they good? Did they allow time and sympathy to obtain the correct sound? Was the venerable Peel himself actually directly involved (I’ve heard differing reports from different ‘guest’ bands)? “The John Peel Sessions were great, although not without their problems. He was a truly genuine guy and is sadly missed. But the BBC engineers were reluctant to break from their institutional approach to recording. They had their way of doing things and often could not be pushed into changing the sound in the mix. This caused some frustration and inevitably a compromise would be reached. They really didn’t like musicians telling them how it should sound. My brother overheard a conversation between a couple of engineers saying ‘If we didn’t have to put up with those bloody artists and musicians then it would be a really good job’. John Peel was not directly involved in the recording although he did occasionally pop in to visit us and see how we were getting on.”


Although it has a dedicated clique of fans, and enjoys periodic revivals of interest, so-called Prog-Rock is a genre not always held in high critical esteem. As though its innovations moved too far from the essential heartbeat of Rock, and became overly intellectual. How does he respond to such attitudes? He’s not phased by my suggestion. “Every genre of music has a rightful place” he points out. “Prog rock certainly didn’t get ‘Overly Intellectual’, but some of it just got plain over-indulgent and deadly boring, and we have to live with that. What is an intellectual? I defy anyone to come up with a definitive explanation that anyone can understand.”

One of the distinguishing characteristics of the genre is instrumental fluidity evolving towards Jazz. Extending the vocabulary of Rock into playful conversations between instruments. In fact Pye himself – answering a muso’s query in ‘Melody Maker’ suggested ‘get sheet music of as many of the old jazz standards as you know and like, and learn these. If you can, watch John McLaughlin playing and when you feel like giving up, go home and try again!’ So which other jazz artists were they listening to at the time? Was Miles Davis’ innovatory ‘Bitches Brew’ period influential on the group’s ideas? “Yes we all listened to Miles Davis and the ‘instrumental fluidity’ as you put it came directly from jazz. Robert Wyatt put it quite succinctly when he said that when the Soft Machine were running out of material they started extending their solos as it was a way of lengthening the set just like the guys who were playing jazz. It is always hard to resist a good idea so we all followed suit.”

So did Caravan have clearly defined and articulated musical objectives, was it something discussed and argued out prior to recording, or was there a more intuitive approach to the music? “No we just went wherever our influences took us.”

Unlike most mainstream Pop, for Prog-Rock, as for Jazz, the ‘contract’ – if you like, between group and audience is that the musicians are allowed to be self-indulgent and pursue their musical ideas towards their own personal visions, while the audience is informed and intelligent enough to enjoy the trip. In that respect, Caravan have always been gifted with a loyal and perceptive audience following. Does that sound like a reasonable analysis? “It is in the nature of the beast that the artist must always lead the audience. Once you start the opposite, you will find yourself in trouble. A good set must be a balance between old and new material and a cross-section of what the band can do. The strength of an audience can be seen in whether they are willing to tolerate being the guinea pigs for new material. Our audience have always given us that leeway and they are to be applauded for it.”

--- 0 --- 

Into the era of transition from analogue to digital, the original Caravan albums are now enjoying renewed visibility and new audiences via CD reissues, downloads, and a high hit-rate on ‘YouTube’, but does Pye believe the analogue sound of the original vinyl albums is ‘warmer’ than the digital CD reissues? “Yes I do, but vinyl wears out after x number of plays whereas digital doesn’t, so you make your choice.” My choice definitely goes out to the current 3-CD Deluxe Edition of ‘In The Land Of Grey And Pink’, a beautiful artefact in itself. Recorded in Decca’s West Hampstead studio, and completed at AIR in Oxford Street, it originally came embellished within Anne-Marie Anderson’s Tolkien-informed gatefold sleeve. The complete re-mastered vinyl album forms CD Disc one, from the intriguing stoned-pastoral title-track with its little keyboard ripples and Edward Lear lyrical strangeness about ‘those nasty grumbly-grimbles climbing down your chimney’. Its enviable prowess extends into a sweetly narcotic voyage to ‘the land of warm and green’ where we can ‘take our fill of punk-weed’ and ‘smoke it till we bleed’, fraying into burbling mouth-music and squealing treated guitar. Then the formidable 22:43-minute eight-part suite “Nine Feet Underground” which formed the whole of the vinyl side two. Although it’s this kind of ambitiously extended project that drew the ire of the anti-Prog Punk backlash, its interweaving contours never lapse into the self-indulgence of the other genre-offenders they were once unfairly bundled with, and suffered by comparison with.

Among a wealth of bonuses, Disc two adds Richard’s “Frozen Rose” from the AIR sessions but never previously issued, alongside three songs from BBC’s ‘Sounds Of The Seventies’ and two done live from John Peel’s ‘Sunday Concert’ including their take on Soft Machine’s “Feelin’, Reelin’, Squealin’”. While the third disc adds alternate versions of “Golf Girl” and “Winter Wine” from a June 1971 edition of German TV’s ‘Beat Club’. The album can now be judged, as it always should have been, without preconceptions, as a product of its own unique creativity. As an example to those raised on the ‘tired and tested’ formula of reality TV-shows, that music can be infinitely more than the ‘X-Factor’. That it can be playfully improvisational and absorbing, where, on a spontaneous lyrical whim ‘Golf Girl’ can mutate into ‘Group Girl’, and sheltering from the golf-balls can become sheltering from the H-Bombs. All in all, it’s a cornucopia of delights, a comprehensive Caravan-collector’s joy.

Personally – for me, when I look back over things I’ve written there’s a constant temptation to revise, rewrite and amend the texts. As a musician, does Pye get the same feelings listening back to these reissues, that it would be nice to re-do that solo, or alter that lyric? Indeed, the re-mix aspect of the process offers the opportunity to maybe do that? “Yes I do. There hasn’t been a recording that I have done that I didn’t feel I couldn’t improve upon. This is certainly so with my lyrics. I get very frustrated about not being able to write lyrics easily. More often than not I have had to write the lyrics to a song after the backing tracks are done and just before the vocal has to be recorded. Very confusing for the other members of the band, but I am getting better at it.”

Now, decades after the event, a lot of the music happening during the period Caravan was at its most active seems incredibly distant, the attitudes (‘won’t need any money, just fingers and your toes…’), social ambitions, political consensus, artistic orientations… and even the music itself seems to have little points of contact with what you hear on the Radio every day. Does he see positive things happening in today’s music, is he optimistic about what’s going on within music? “The musical points of contact are surely a reflection of what the writer is listening to at any given moment, whether it is political or not…” he reasons. “I think one is naturally influenced by what is going on around you and I don’t think it’s any different from when we were at our most active to today. The styles may have changed, but the essence of the music remains. Anyway, don’t you feel that musical tastes are cyclical, in that ‘what goes around comes around’? I love changes in music and am quite magpie-like in that I will take something from everything I listen to. So the more changes there are the more I like it.”


The internet and downloading is attacking the traditional dominance of the big labels, but is creating new portals of access for bands like Caravan, through dedicated websites and fan-groups. What are his attitudes to these changes? “I must say I am confused by the whole situation. It used to be quite simple in that you recorded an album for a record company, who then actively promoted the band. The buyer got something he or she could hold and treasure, and at the end of the day you got your royalty. Now I don’t know who owns what and how you can translate digital sales into income. It seems that everyone wants to download everything for free.”

I had to ask it. I just couldn’t resist it. Pye ‘If You Had To Do It All Over Again…’, would you, or would you do it differently? This deluxe re-issue with it’s set of remixes, is probably the closest an artist will ever get to recreating an original idea, for a new decade. Hell, for a new century. And it’s good to see Steven Wilson – of Prog-renaissance band Porcupine Tree, involved in the re-mixing process. I remember debating various aspects of 1970’s music culture with him backstage at the Leeds ‘Cockpit’ club! Is Pye happy for other people to get involved with the Caravan legacy, and is he pleased with the results? “Yes, Steve is a good bloke and I am very pleased with the results. I’ve only met him once, at a Porcupine Tree gig that I went to. And it’s always good to hear other people’s take on your music”. A calculated pause, then “…the original, however, still remains the original…”

An in-part spoof throwaway question, opening up answers with endless possibilities. What else would you expect?


A CARAVAN OF ALBUMS 

October 1968 ‘CARAVAN’ (MGM Verve 8829522) with ‘effusive’ sleeve-notes by underground activist Miles, and issued just prior to the debut Soft Machine album (the Softs get a lyrical reference in “Magic Man”) this album includes “Love Song With Flute” with Jimmy Hastings playing flute, “Policeman”, the ‘mesmerising immaculately stoned’ “Cecil Rons”, and it includes both sides of the single “Place Of My Own” c/w the eastern-tinged “Ride”, and Hugh Hopper helps write the ‘glorious extended finale’ “Where But For Caravan Would I?”. A 2002 CD reissue adds single “Hello Hello”


September 1970 ‘IF I COULD DO IT ALL OVER AGAIN, I’D DO IT ALL OVER YOU’ (Decca SKL 5052) Produced by Terry King, and includes the full 14:21-minute version of the “For Richard” medley, later re-done on the ‘New Symphonia’ album, plus “And I Wish I Was Stoned, Don’t Worry”, “Warlock”, “With An Ear To The Ground”, “Can’t Be Long Now”, “Astoteri”, “Martinian”, “Francoise”, “I Can Make It”, “Limits”, “As I Feel I Die”, “Only Cox”, plus both sides of the single “If I Could Do It All Over Again, I’d Do It All Over You” c/w “Hello Hello” (Decca F 13063)


May 1971 ‘IN THE LAND OF GREY AND PINK’ (Decca Deram SDL1, reissue Deram 5333161, 3-CD Deluxe Edition, May 2011) The first of many Caravan albums produced by David Hitchcock, with “Winter Wine”, “In The Land Of Grey And Pink”, “Nine Feet Underground: Nigel Blows A Tune”, “Love Is A Friend”, “Made It In ‘76”, “Dance Of The Seven Paper Hankies”, “Hold Granddad By The Nose”, “Honest I Did It!”, “Disassociation”, “100% Proof” plus both sides of the single “Love To Love You (And Tonight Pigs Will Fly” c/w “Golf Girl” (Decca F 23125)

May 1972 ‘WATERLOO LILY’ (Deram SDL8) the only Caravan album featuring Stephen Miller (keyboards), also includes guest jazzers Lol Coxhill (Soprano sax), Jimmy Hastings (flute) and Mike Cotton (trumpet) with “Love In Your Eyes”, “Waterloo Lily”, “To Catch Me A Brother”, “Nothing At All”, “It’s Coming Soon”, “Subsultus”, “Aristocracy”, “The World Is Yours”, “Debouchment”, “Song And Signs”, “Tilbury Kacks”. After his stint with Caravan Steve Miller later appeared as a duo with Lol Coxhill, and worked with Delivery and Hatfield And The North


October 1973 ‘FOR GIRLS WHO GROW PLUMP IN THE NIGHT’ (Deram SDLR R12) David Sinclair rejoined Caravan in March, for this LP, augmented with brass and orchestral arrangements. All tracks are credited to Pye Hastings, including “C’thluthlu”, but John G Perry and Mike Ratledge are co-credited for side-two medley “L’Auberge Du Sanglier”. Guest musicians include Frank Ricotti (congas), Henry Lowther (trumpet), and Paul Buckmaster (electric cello) with “A Hunting We Shall Go”, “Hoedown”, “Be All Right”, “Memory Lain, Hugh”, “The Dog, The Dog, He’s At It Again”, “Chance Of A Lifetime”, “Backwards”, “Surprise, Surprise”, “Rengola”, “Headloss”, “A Hunting We Shall Go (reprise)”. Meanwhile, John Perry plays guest bass on Curved Air’s ‘Midnight Wire’ (1975) LP, and later joins Quantum Jump

April 1974 ‘CARAVAN AND THE NEW SYMPHONIA’ (C SMLR 1110) recorded live at London’s Drury Lane Theatre Royal with the 43-piece New Symphonia Orchestra conducted by Martyn Ford. Consists of five tracks – “Introduction”, Pye’s “Mirror For The Day” and “Virgin On The Ridiculous”, and group compositions “The Love In Your Eye” and “For Richard”. Lindsey Boyd in ‘NME’ wrote ‘Caravan are one of my all-time favourites and in terms of audience response the concert could not have been better’, while Paul Wier in ‘Sounds’ wrote ‘a few bands have dabbled with orchestras, but few can match Caravan in the field. Caravan deserve an orchestra. It was a rare treat for those who managed to see the show’


August 1975 ‘CUNNING STUNTS’ (Decca SKL 5210, re-issued as Request RR003) The album-title is a malapropism! Line-up for this album is Pye Hastings, Richard Coughlan, David Sinclair, Mike Wedgwood (ex-Curved Air, bass), Geoffrey Richardson (viola). With “Sneaking Out The Bears Where”, “The Dabsong Concerto”, “The Show Of Our Lives”, “No Back-Stage Pass”, “Pros And Cons”, “The Mad Dabsong”, “Ben Karrat Rides Again”, “Wrecks And Ladders”, “Welcome The Day”, “Tollington Park Rag”, “All Sorts Of Unmentionable Things”, “The Fear And Loathing In”, plus both sides of the single “Stuck In A Hole” c/w “Lover”

May 1976 ‘BLIND DOG AT ST DUNSTAN’S’ (Repetoire 4501, BTM BTM 1007) again, Pye is credited on 8 of the 9 tracks. Produced by David Hitchcock – responsible for their previous 6 albums, as well as Camel’s ‘Snow Goose’. For this album Caravan is Pye, Coughlan, Richardson, Wedgwood, and incomer Jan Schelhass (ex National Head Band and Gary Moore’s band, keyboards). With “Here I Am”, “Bobbing Wide”, “A Very Smelly Grubby Little Oak”, “Come On Back”, “Can You Hear Me”, “Jack And Jill”, “A Very Smelly Grubby Little Oak (reprise)”, plus both sides of the single “All The Way (edit)” c/w “Chiefs And Indians” (written by Wedgwood)


November 1976 ‘THE CANTERBURY TALES: THE BEST OF CARAVAN’ (Decca DK-R 8/2) compilation. Reissued in 1994 as CD (Decca Chronicles 515522-2)

June 1977 ‘BETTER BY FAR’ (Arista 4134, SPARTY 1008), produced by Toni Visconti. Followed by a group gap-year during which David and Richard Sinclair join Camel. The line-up now includes Pye with Geoff Richardon, Dek Messecar (ex Darryl Way’s Wolf, replacing Mike Wedgwood), Richard Coughlan, and Jan Schelhaas. Six songs by Pye, two by Richardson and one by Schelhaas, “Man In The Car”, “The Last Unicorn”, “Feelin’ Alright”, “Behind You”, “Nightmare”, “Give Me More”, “Let It Shine”, plus both sides of the single “Better By Far” c/w “Silver Strings”


November 1980 ‘THE ALBUM’ (Kingdom CDKVL 9003) released on their manager – Terry King’s, own label, with David Sinclair back in the line-up (from Camel, replacing Dek Messecar). With “Corner Of My Eyes”, “Watcha Gonna Tell Me”, “Bright Shiny Day”, “Piano Player”, Keepin’ Up De Fences”, “Golden Mile”, “Clear Blue Sky” plus single “Heartbreaker” (but not its ‘B’-side “It’s Never Too Late”)

July 1981 ‘THE SHOW OF OUR LIVES: CARAVAN AT THE BBC 1968-1975’ (Kingdom, reissued in 2007 on Universal / Decca)

June 1982 ‘BACK TO FRONT’ (Kingdom 5011) The four original members together for the first time in eleven years – Pye Hastings, Coughlan, David and Richard Sinclair, plus saxophonist Mel Collins (ex King Crimson). With “Back To Herne Bay Front”, “Sally Don’t Change It”, “All Aboard”, “Bet You Wanna Tell It All”, “Videos Of Hollywood”, “Hold On, Hold On AA Man”, “Takin’ My Breath Away”. “Proper Job”, “Back To Front”

April 1985 ‘AND I WISH I WERE STONED, DON’T WORRY’ (See For Miles) re-issued in August 1990 as ‘THE BEST OF CARAVAN’ (C-Five C5CD 505) with “And I Wish I Were Stoned, Don’t Worry”, “Can’t Be Long Now-Francoise-For Richard-Warlock”, “No Backstage Pass”, “The Dog, The Dog, He’s At It Again”, “The Love In Your Eye-To Catch Me A Brother-Subsultus-Debouchement-Tilbury Kecks”, “In The Land Of Grey And Pink”, “Memory Lain, Hugh”

May 1991 ‘SONGS AND SIGNS’ (Elite) compilation

October 1991 ‘CARAVAN: BBC RADIO 1 LIVE IN CONCERT’ (Windsong Int WINCD 003) with “Love In Your Eyes”, “For Richard”, “The Dab Concerto Song”, “Hoedown”

July 1992 ‘CARAVAN OF DREAMS’ (HTD) issued as by ‘RICHARD SINCLAIR’S CARAVAN OF DREAMS’ during temporary group disassociation, with David Sinclair, Jimmy Hastings, with Andy Ward (ex Camel)

1995 ‘BATTLE OF HASTINGS’ (Castle CD41) with the line-up of Pye and Jimmy Hastings, Richard Coughlan, Geoffrey Richardson, David Sinclair and Jim Leverton


1995 ‘COOL WATER’ (HTD Records HTDCD18, Pony Canyon PCCY-00613) originally recorded in 1977 for Arista, but not previously issued. With “Cool Water”, “Just The Way You Are”, “Tuesday Is Rock ‘n’ Roll Nite”, “The Crack Of The Willow”, “Ansaphone”, “Cold Fright”, “Side By Side”, “You Won’t Get Me Up In One Of Those”, “The Land Of My Fathers”, “Poor Molly”, “Send Reinforcements”

Spring 1998 ‘LIVE: CANTERBURY COMES TO LONDON’ (HTD Records) recorded at the London Astoria September 1997. With “Headless”, “Cold As Ice”, “Nine Feet Underground”, “For Richard”

June 2000 ‘ALL OVER YOU TOO’ (Castle 609 / Transatlantic 325) 9-track compilation with “Hoedown”, “Stuck In A Hole”, “Bobbing Wide Hastings (+ reprise)”, “Ride” etc

2002 ‘GREEN BOTTLES FOR MARJORIE: THE LOST BBC SESSIONS’ (Caravan) eight tracks including two versions of “Feeling, Reeling And Squealing” from 1968 John Peel Show, and Radio 1 In Concert 1971, plus “Love In Your Eye” from John Peel 1972

2002 ‘CARAVAN LIVE AT THE FAIRFIELD HALLS, 1974’ (Decca) originally issued in France in 1980 as ‘The Best Of Caravan Live’, line-up includes David Sinclair (keyboards), Geoffrey Richardson (viola), Pye Hastings (guitar, vocals), Richard Coughlan (drums) plus Mike Wedgwood’s debut on bass

December 2004 ‘THE UNAUTHORISED BREAKFAST ITEM’ (Eclectic Discs) 2-CD set, with second disc live in Japan and “For Richard” live in Quebec. With “Smoking Gun (Right For Me)”, “The Unauthorised Breakfast Item”, “Revenge” and “Tell Me Why” on both discs, plus studio “It’s Getting A Whole Lot Better”, “Head Above The Clouds”, “Straight Through The Heart”, “Wild West Street”, “Nowhere To Hide”, “Linders Field”. Line-up is Pye Hastings, Richard Coughlan, Jan Schelhaas (keyboards, backing vocals), Doug Boyle (lead guitar), Geoffrey Richardson (viola, banjo, ukelele, acoustic guitar), Jim Leverton (bass) plus guests Jimmy Hastings (tenor and soprano sax), David Sinclair (keyboards on ‘Nowhere To Run’), Simon Bentall (percussion), Ralph Cross (percussion on title track)

Featured on website:
‘SOUNDCHECKS MUSIC REVIEW’
(UK – June 2011)


Tuesday, 24 July 2018

Album Review: Wishbone Ash 'Elegant Stealth'



THERE'S ANOTHER RUB: 
WISHBONE ASH 

Album Review of: 
‘ELEGANT STEALTH’ 
by WISHBONE ASH 
(2012, ZYX Music GCR20066-2) 

Wishbone Ash. The very name prompts brain-storm flashbacks of squatting mud-slick in 1970’s Festival mosh-pits blitzed by hyperactive decibel-overload. They were massive round about back then. But you were spoilt for choice. Riffing metal bands were everywhere. Budgie. Saxon. Judas Priest. Paladin. Uriah Heap. The Ash’s crowd-pleasing twin-lead guitar-attack, as showcased on mega-selling albums ‘Argus’ (1972) and ‘There’s The Rub’ (1974), gave them an edge. And forty years later, they’re still here? If you’re a musician and you’re serious about what you do, that’s what you do. You play. Every so often you issue an album, a diary of your mind-set. A bunch of your latest material. Some verse-chorus-verses strung around intense soloing. A process that builds into a back-catalogue.


For Wishbone Ash there’s been a cycle of personnel changes. But a continuity too. ‘Elegant Stealth’ is their twenty-third studio album. With founder Andy Powell still there on guitar and lead vocals, alongside a stable three-year line-up of Muddy Manninen (guitar, vocals), Bob Skeat (bass, vocals), and James Crabtree (drums and percussion). Opener “Reason To Believe” is not the Tim Hardin classic, but an essay in dexterously-crafted dueling guitars gliding together and playing off against each other in seemingly effortless cryptic codes across leaden drums. There’s a remix version of the same song by Al Carson included as a hidden bonus track. But – fear not, there’s a little stuttering echoplexing, a clattering fade-in fade-out techno-beat, but nothing too radical to scare the lumpen fan-base.

And nothing quite as experimental elsewhere, although Deep Purple’s Don Airey is on hand to add Hammond B3 organ textural depth to Muddy Manninen’s “Mud-Slick”, an instrumental showcase with echoes of Purple’s ‘Strange Kind Of Woman’ in its rhythm-grid. And Pat McManus from Irish band Mamas Boys scribbles fiddle all over his own stand-out composition “Can’t Go it Alone” which flirts with reels but swiftly devours it all in heavy intense soloing around a relentless Marc Bolan ‘Children Of The Revolution’ spinal riff, then breaking into scat-vocals ghosting the ascending guitar figure. Further in, there’s Andy Powell’s sweet jog-along solo composition “Give It Up”, with all other songs created collectively by the group, its historic legacy ensuring awesome levels of technical proficiency, from the stalking bass of “Warm Tears” to the acoustic breaks on “Man With No Name”. 

Powell’s voice is efficient rather than outstanding, but it’s enforced by haunted paranoid guitar-effects on “Heavy Weather” where he’s predicting all manner of carnage to come beyond the event-horizon, elevated by what sounds to be punching horns. And there are upgrade shots at lyrical relevancy with “Big Issues” voicing street-sleeper grievances over slap-bass and thumping drums, in which he’s threatening arson at lying politicians (is there any other kind?). And a sympathetically well-intentioned “Migrant Worker”, with wah-wah guitar. “Searching For Satellites” is better, its vaguely autobiographical lyric addressed to the ‘fellow travellers’ ‘faithful followers’ and ‘friends from my youth’ who saw the band’s ‘star rise’ and were part of their story ‘in our time under the skies’ – and what conclusions emerge from the rippling guitars and reflective mood-changes? There’s only one answer, and the answer is ‘Love’. Closing track “Invisible Thread” opens with a slow insistent build leading into scintillating conversational interplay of elegant rhyming guitar figures and practiced eighties smooth-harmonies over its ponderous back-beat. In other words, mainstream AOR. Long decades, but a logical evolutionary development from those mega-selling 1970s albums. But fashion’s a strange thing, it needed no more than a fortunate TV-slot to resurrect the long-lapsed career of Journey. And for the Ash, chances are, if you liked them back then, you’ll like this now.

Originally featured on website:
‘SOUNDCHECKS MUSIC REVIEW’ 
(UK – January 2012)


Monday, 23 July 2018

SF Book Review: Mike Ashley's 'MOONRISE'



DESTINATION MOON!!!! 

Book Review of: 
‘MOONRISE: THE GOLDEN 
AGE OF LUNAR ADVENTURE’ 
edited by MIKE ASHLEY 
(British Library Science Fiction Classics, 
 April 2018, ISBN 978-0-7123-5275-8, 352pp)


Neil Armstrong’s small step for all mankind proved just as much an extinction event for the first-man-on-the-moon sub-genre of Science Fiction, as Yuri Gagarin had earlier killed off the first-man-in-space equivalent. Both thresholds had been fictionally crossed countless times before, although very few of the imaginings came anywhere close to the reality. And afterwards, there could be no more.

The Moon is not a balloon, neither is it composed of cheese, as in Wallace & Gromit’s ‘A Grand Day Out’ (1989). And there are no Clangers there. Mercury and Venus have no moons, although Leigh Brackett wrote a beautiful story about Venus, “The Moon That Vanished” (in ‘Thrilling Wonder Stories’, October 1948). Mars has two small moons, probably captured asteroids, which hasn’t hindered their fictional use across the decades, witness the Mike Ashley-edited companion volume ‘Lost Mars: The Golden Age Of The Red Planet’ (April 2018). But Earth’s Moon is so obviously and inescapably THERE that’s it’s probably been the subject of fantasies for as long as there have been fantasists.


As Mike Ashley’s notes point out, Arthur C Clarke was a member of the preposterously self-titled ‘British Interplanetary Society’ when human aeronautics was barely in its infancy, and he wrote “We Can Rocket To The Moon – Now!” for ‘Tales Of Wonder’ (no.7, Summer 1939). The BIS saw Science Fiction as the Promotional Public Relations department for the advocacy of Space Travel. Perhaps their enthusiasms set expectations too high? John Wyndham’s “Idiot’s Delight” (aka “The Moon AD2044)” is a rather tedious procedural excerpt from his ‘The Outward Urge’ (1959), the future history of the Troon family tree. But he was prescient enough to recognise the Space Race as less the quest for knowledge, and more the spin-off from superpower confrontation. The reason the US brought the Apollo Programme to a close was because the USSR had prematurely pulled out first. Once the ticker-tape parades and gosh-wow wall-posters and TV-coverage had run its course, there was no incentive for more. So there was no more. The moonscape was left to its desolate splendour. If, as Wyndham’s tale postulates, the Cold War persisted long enough for the Soviets to establish a lunar base – on the flawed perception that whoever has warheads on the Moon can target Earth with impunity, the Americans would have been compelled to respond with a base of their own. The addition of a British base is more dubious, in light of our grudging participation in the European Space Agency, and our face-saving celebration of Brit-astronauts hitch-hiking to the International Space Station from the Baikonur Cosmodrome.


Yet there’s truth in the quote from Clarke’s ‘The View From Serendip’ (1977) which Mike Ashley repeats, that ‘I’m sure we would not have had men on the moon if it had not been for Wells and Verne and the people who write about this and made people think about it.’ And that’s where the anthology begins. The startlingly good “A Visit To The Moon” – extracted from George Griffith’s ‘A Honeymoon In Space’ (1901), precedes HG Wells’ ‘First Men In The Moon’ (1901), and anticipates some of its ideas. Griffith’s Lord Redgrave and his young wife Zaidie use an airship powered by antigravity to reach the Moon, just as Cavor does. The Moon is an ancient dying world… and it would remain so in much subsequent fictions. Griffith’s ‘Astronef’ airship discovers a dead city of white-bleached bones and skulls on the Tycho plain, then descends deep into the Newton crater to where air and water remain sufficient for devolved life-forms to survive. It’s a scenario elaborated by Wells into his complex Selenite culture, described here in the lengthy closing chapters. Unwisely, Cavor’s honesty ensures that he tells the Grand Lunar the full human history of atrocity, warfare, pogrom and genocide, earning Earthlings their instant enmity. Much later the ‘First Men In The Moon’ movie uses a cunning continuity loop, in which the United Nations launches a 1964 multinational spacecraft, believing themselves to be the first lunar explorers, only to discover a Union Jack flag already there, planted by Cavor (Lionel Jeffries) and Bedford (Edward Judd), leading into Nigel Kneale’s screenplay reiteration of Wells’ original story.

William F Temple’s “Lunar Lilliput” from Walter Gilling’s ‘Tales Of Wonder’ (no.2, Spring 1938), despite its occasional silliness, features Larn – the last Lunarian of the Gend race, his demise brought about by the arrival of Temple’s gender-mixed Interplanetarian crew into this Moon ‘Alice In Wonderland gone crazy’. While even Arthur C Clarke persists in the idea – no longer acknowledged anywhere, that the Moon once had oceans. Begging the question, when was it last possible to write about, even primitive life-forms on the Moon? Captain WE Johns’ crew of the vertical take-off ‘Spacemaster’ find lunar life in ‘Kings Of Space’ as late as 1954.


But this anthology celebrates ‘The Golden Age Of Lunar Adventure’. The cover-art is by Chesley Bonestell. The frontpiece by Camille Flammarion. There is fiction by Judith Merril humanising the first lunarnauts. There is lost astronomical infotainment from John Munro (“Sunrise On The Moon”), a ‘Cold Equation’ variant about a stowaway on the first moon-bound rocketship, in Charles Cloukey’s “Sub-Satellite” (rescued from ‘Amazing Stories’, March 1928), and two by giants of the pulp era. In “Nothing Happens On The Moon” by Paul Ernst (‘Astounding SF’, February 1939), Emergency Moon Station RC3 is attacked by a monstrous creature hatched from an asteroidal space-egg. And in “After A Judgement Day” by Edmond Hamilton (‘Fantastic Stories Of Imagination’, December 1963), the Lunar Station plans for human culture to survive as the Earth is decimated by extinction-level plague. Plus Gordon R Dickson and the Arthur C Clarke story which kicked off the entire ‘2001: A Space Odyssey’ mythology.

 All anthologies are grab-bags restricted by availability and pagination, it’s impossible to include everything the editor might wish to collect. This is a wonderful head-spinning compilation. But there’s a wealth more of lunar fiction in the archives of forgotten old pulp magazines. Among my suggestions would be the beautiful strangeness of Jack Williamson’s “The Moon Era” from ‘Wonder Stories’ (February 1932), which uses the ‘Conway Effect’ gravity-reversal space-time machine to reach the ancient living moon where the alien Mother flees from a machine-race called the Eternal Ones. And EC Tubb’s “Window On The Moon”, a power-espionage thriller serialised in three parts in ‘New Worlds’ (April, May and June 1963). Here, there are American, Russian and Chinese bases, all armed Cold War strongholds spying on each other employing assassination and sabotage, while a British base is unique in having huge panoramic windows facing the globe of Earth, but is also developing ABIC, an insane organic computer. There’s a character called Seldon – a conscious echo back to Isaac Asimov, a spaceship name ‘Enterprise’, and the visible image of Earth ‘to remind us of our humanity… in case we should ever be tempted to forget.’

All of which proves that there’s still life, of sorts, on the Moon, long after Neil Armstrong’s small step for all mankind.


Friday, 29 June 2018

Poem: 'I AM A CATHEDRAL'





I AM A CATHEDRAL 
(Peter Sarstedt, United Artists UP 2228) 



I look up from my book
and think, I am a cathedral,
I first heard those lines in 1968
been hung up by them ever since,
there’s a poem in there
if only I can tease it out…
now I’m here in ‘All Saints’
which smells faintly of mould
and decay, in Nafferton, e yorks
for Ava Rose’s family christening
and the lines drift back…
Peter Sarstedt, a swirl of Tijuana horns
as Arthur Lee on ‘Alone Again Or’,
never a hit, mostly forgotten, yet
still I’m chewing over those lines,
at base it’s ‘my body is a temple’
but no, it’s more than that,
turn it around, I am a mosque
I’m a synagogue, and it doesn’t work,
and what’s the book he’s reading?
has he already filched the lines
as I’m now taking them back?
sunlight streams in, irradiating
stained glass metaphors
for salvation, igniting the soul,
a body riddled with light, porous,
something close to spirituality,
which even non-believers can take
and atheist poets can steal…
this is not a cathedral
just a 13th-century lost village church
built on peasant sweat and muscle
striving beyond ancient wood beams
towards heaven beyond the sky,
a drone of sermon, Ava stirs,
I look up from my book,
yes, I am a cathedral…


Thursday, 28 June 2018

Three Brothers: Eden Kane, Peter & Robin Sarstedt



THREE BROTHERS: 
 EDEN KANE, PETER 
& ROBIN SARSTEDT 

 Unique in British Top Forty history, the three Sarstedt brothers 
 had three separate careers across three distinct and different 
 eras of Pop. Andrew Darlington traces the stories of 
Eden Kane, Peter Sarstedt and Robin Sarstedt



In the statistics of British Pop history, studied and analysed by chart academics, the Sarstedt clan are unique in one distinct aspect, they’re the only sibling trio to rack up separate solo hits independent of each other. There have been dynasties, Frank and Nancy Sinatra. John and Julian Lennon. While the Osmonds and the Jacksons – two brothers and a sister each with solo hits, come close to the Sarstedt achievement, as do the Gibbs – of whom Andy and Robin have hit as soloists while Barry has charted in partnership with Barbra Streisand. But no family has yet quite matched the Sarstedt record of three separate career arcs across different periods of Pop history.

It starts with Eden Kane, possibly the last of the sultry Pop teen-mag pin-ups to slip in under the wire, before the Beat Group Wave changed all the rules. He began life on 29 March 1942 as Richard Graham Sarstedt. Like Cliff Richard and Engelbert Humperdinck, he was born in India, where parents Albert and Coral were New Delhi civil servants. When Richard was a child, the family – including younger brothers Peter and Clive, plus their three sisters (Lorraine, Pam and June) – move to Kurseong, to run a Darjeeling tea plantation on the Himalayan foothills. He attends a boarding school until, with his father's death in March 1954, the family return to Britain. They settle in Norbury, Croydon, where young Richard attends Heath Clark Grammar School. Distracted from homework by the Bill Haley backbeat on the radio, like a thousand others, he learned guitar and formed the Fabulous Five, a skiffle-group with his brothers.

He supposedly appeared in a low-budget and now-lost film called ‘Drinks All Round’ (1960) – although I can find no trace of it, but fortuitously won a talent contest held at the Chelsea ‘Classic Cinema’ on the Kings Road, which resulted in him being signed by the contest adjudicators and management duo of Michael Barclay and Philip Waddilove – Simon Cowell-style. The product of careful planning, it’s said he adopted his stage-name from Orson Welles’ ‘Citizen Kane’, well, perhaps, but there are obvious Biblical overtones intended to resonate too, after all – thrown out of Eden, Caine becomes the world’s first murderer.


The other contest prize was the opportunity to record a first record. Under the guise ‘Ricky Sears’ he wrote “Hot Chocolate Crazy” as a jingle – ‘man, she’s got it bad’, used to advertise a proprietary brand of Cadbury’s drinking chocolate, where it was heard on Radio Luxembourg almost as high-rotation as Horace Batchelor’s football pools commercial. But at a time when the BBC ruthlessly expunged all trace of advertising, long before product-placement became a vital part of funding, no brand-name could be seen or heard, excluded even from scenes in TV Soaps. As late as the Kinks “Lola” they had to rerecord the track – changing ‘Coca-Cola’ to ‘Cherry-Cola’, before Radio One would play it. During the less-innocent 1970s both the New Seekers and Bobby Goldsboro chart with cunningly re-drafted Cola adverts, while David Dundas hit no.3 in 1976 with a thinly-disguised Brutus “Jeans On” TV-ad. But meanwhile, denied air-time, even under the subterfuge as the ‘B’-side of August 1960 single “You Make Love So Well” (Pye Records), Eden Kane was pre-doomed not to chart. Yet it creates an awareness of his presence, sufficient to interest rival label, Decca.


Johnny Worth (alias Les Vandyke) had written “What Do You Want?” and “Poor Me” for Adam Faith almost two years earlier. Now, he came up with his third and final chart-topping song for another newcomer with a name taken from Genesis Chapter One! Produced by Bunny Lewis with a dancing-strings Johnny Keating arrangement, Eden’s Decca release “Well I Ask You” entered the ‘Record Retailer’ chart at no.33 (8 June 1961). For ‘New Musical Express’ it climbed to no.18 from no.27 (10 June). The listings published by rival papers rarely coincide, and frequently conflict. It climbed through 16, 15, 11, 5 and 2 before dethroning the Everly Brothers “Temptation” from the top slot for the single week of 3 August in ‘Record Mirror’ – two weeks for ‘NME’, before being replaced by Helen Shapiro’s “You Don’t Know”. It was propelled by what Phil Hardy and Dave Laing term ‘the hully-gully vein’, a combination of heavy beat and growl (‘The Encyclopedia Of Rock: Volume 1’, Panther, 1976). In the lyric his faithless lover wants to return, having learned her lesson, but ‘don’t think you’re getting away with it, you’re gonna pay me somehow’ he sneers, because ‘you cruelly wrecked my life’, now ‘get down on your knees and try, I won’t break till I see you cry.’ A tough-guy stance, contrasting the regular saccharine sweetness of contemporary Pop.

Never a hard Rocker, Eden’s swarthy photogenics and slicked-back quiff, with just a hint of Bad-Boy made him the ideal Teen Idol for the fan-mags and ‘Love-Story-In-Pictures’ romance-zines that regularly feature strip-tales ‘inspired’ by current hits. In that cosy contained very-English Pop world, Eden Kane was a gift for them, alongside Billy Fury and Cliff Richard who he’s now sharing tour-bills with… alongside Helen Shapiro. Larry Parne’s ‘The Big Star Show Of 1962’ saw Eden Kane in an immaculate white suit taking equal billing with John Leyton, Billy Fury and Karl Denver, with ‘Moody Guy’ Shane Fenton (he recorded Eden’s song “Fool’s Paradise” long before he became Alvin Stardust) and Joe Brown footing the bill – all for just 8s/6d, 6s/6d or cheap seats at 4s/4d.


The next single, “Get Lost”, follows that growl-soft template, all the way into the chart to a high of no.8 (‘NME’ 30 September). ‘We had a wining formula and we stuck with it’ Eden confides to Spencer Leigh (‘Record Collector’ 1988). The snarling go-away ‘Get Lost’ is the closest you could risk to ‘F**k Off’, although it gets immediately countered by the acceptable ‘but get lost in my arms’. ‘Do I gotta get a shotgun to make you name the day’ adds a further touch a soft menace. And he’s all over the radio and the TV Pop shows, from ‘Thank Your Lucky Stars’ to ‘Crackerjack’. A third Vandyke song “Forget Me Not” – ‘love’s a fire when the kisses go hot’, takes him through into 1962, and back up to no.3. Until “I Don’t Know Why” – with a talking verse, makes it a suite of hits, by reaching no.7. Unlike the ones that precede it, this is on oldie from 1931, which had been a big-seller for Frank Sinatra and the Tommy Dorsey Orchestra. Perhaps Eden’s revival was prompted by a 1961 US no.12 version by Linda Scott? ‘The only time you hold me, is when we’re dancing’ makes for an odd line in the wake of the Twist fad which for the first time liberates dancers from actually touching! Whatever, it ends the Eden Kane chart run.

It could be argued that he was ill-served by his record labels. The debut album, ‘Eden Kane’ (Ace Of Clubs ACL 1133) issued on Decca’s mid-price subsidiary, is largely a hits-so-far compilation, with ‘B’-sides such as Vandyke’s “Music For Strings” (and its c/w “I Don’t Know Why”), “Kiss Me Quick”, “I Told You’ and “A New Kind of Lovin’” under Kane’s ‘Ricky Sears’ aka, with “My Girl Sue” and “I’m Telling You” – written under the guise of his first names ‘R Graham’. 

His second long-player – ‘It’s Eden’ (Fontana TL5211), boasts Les Reed arrangements, but is an unwieldy mix of standards – “Gonna Send You Back To Georgia” and “Smoke Gets In Your Eyes” with current hit covers “On Broadway” and “I (Who Have Nothing)” plus a touch of Motown with “Shoppin’ Around”. There were also a couple of EP Extended Play packages, ‘Well I Ask You’ (Decca DFE 6696) which is the hit plus its ‘B’-side “Before I Lose My Mind”, alongside “Get Lost” and its flip “I’m Telling You”. A second EP – ‘Hits’ (Decca DFE 8503), with Tony Barrow liner notes, simply gathers the four chart hits. But such treatment was largely the format imposed on Pop Stars by label managements who neither understood or greatly valued their ‘artists’.

Inexplicably Les Vandyke’s “House To Let” – ‘houseful of misery, houseful of pain’, replete with all his characteristic touches, and “Sounds Funny To Me” fail to register, leading to financial problems, and a change of label. “Like I Love You” became his debut single for Fontana in 1963 – accompanied by Earl Preston And The TTs, by which time seismic changes have taken place. The Merseybeat deluge had shaken Pop to its core. Yet Johnny Kidd & The Pirates had made a major chart-return under the Beat Group flag of convenience, Adam Faith acquired the Roulettes and a new run of hits, Billy Fury fronted the guitar figure on “Do You Really Love Me Too (Fool’s Errand)”, while even Cliff Richard concedes in a half-spoof way ‘you can dance, Twist and Shout’ on his “On The Beach”.


  The guitar spine of “Boys Cry” brings it into line with the Mersey boom, and as it brought him back into the charts for a one-off return – entering at no.26 (‘NME’ 15 February 1964), and climbing to no.8 (14 March). By now he was sharing a chart with the Rolling Stones, the Hollies and the Dave Clark Five. A brief renewed visibility that leads to new TV slots, and a major tour with Roy Orbison, Del Shannon and the Searchers that takes him as far as Australia. Then, with no more hits here, he continues to be popular in Australia – where “Boys Cry” was no.1, and then relocates to work in the California music industry. He married Charlene, sister of movie star Stefanie ‘Hart To Hart’ Powers.

Music changes. And seven-and-a-half years later – in 1969 younger brother Peter (Eardley Sarstedt, born 10 December 1941) is making new waves in the singer-songwriter genre. He’d played back-up bass on Eden Kane shows, and briefly masqueraded as Peter Lincoln for a Major-Minor single “In The Day Of My Youth” c/w “My Monkey Is A Junkie” in 1967. But it was his debut single for United Artists that made me first take note.

“I Am A Cathedral” is a strongly enigmatic song, vaguely in the Donovan vein. But “Where Do You Go To, My Lovely?” is the song of a lifetime, where all the elements come most perfectly together. With its French café-flavoured sway and catchy vocal hook it’s a movie or a Harold Robbins blockbuster novel about a poor little rich girl with a secret history all the way from the ‘back streets of Naples’. As with Bobby Gentry’s haunting “Ode To Billie Joe” there’s internal dialogue and hanging questions that hint at a wealth of more. There are product brand-names used as social-status signifiers in a way that was ahead of its time – even her name, Marie-Claire, is a glossy fashion-magazine, and there’s what passes for the risqué nudge-nudge humour of her ‘cleverly-designed topless swimsuit’ that gives ‘an even suntan, on your back and on your legs’. Clear through to the poignant closing verse where the two kids who have ‘shaken off their lowly-born tags’ recognize each other, and part for the last time.


The single entered the ‘New Musical Express’ chart at no.20 (8 February 1969), and climbed through no.9, and no.2 to occupy the top slot for four weeks from 1 March, before being nudged aside by Marvin Gaye’s “I Heard It Through The Grapevine”. “Where Do You Go To My Lovely” remains high-profile on nostalgia radio and a staple of those Fabulous 1960s CD hits compilations.

It was followed by “Frozen Orange Juice”, a playful summer record, at a time when ‘the sunny hills of Madrid’ were still considered as romantically exotic as Marrakesh would be. In the same way that Eden Kane was never a Rocker, Peter Sarstedt was never a bona fide hippie, his penchant for wide ties contrasts his luxurious Zapata moustache. Yet the record caught the mood of the time to perfection. Then there was “Take Off Your Clothes”. Where Radio One could just about live with a ‘cleverly-designed topless swimsuit’ they threw up their hands in horror at his lascivious tongue-in-cheek ‘my daddy is a priest, you know, and I am not a beast, you know’, such an invitation to immodesty – ‘stand as naked as nature intended’, deemed as sinful as advertising ‘Hot Chocolate’ on its pristine airways. Dooming a delightful single to chart failure. For Peter, there was to be no second bite of the Pop cherry, although his three albums from the period have considerable singer-songwriter merit.


In the seventies, Eden Kane re-emerged with brothers, Clive and Peter, as the Sarstedt Brothers, recreating the line-up of their skiffle group, the Fabulous Five, featuring tea-chest bass-player Peter’s “All Together Now” recalling those early days! For the album ‘Worlds Apart Together’ (1972) Bowie-producer Tony Visconti assembled a constellation of star session players, including his wife modestly appearing as Mary ‘Opkins. ‘We were singing about our lives and our beginnings in the business’ Eden explained, while the brothers promote the album with a joint concert at the Croydon Fairfield Halls.

For Eden Kane there were still occasional Golden Oldie and ‘Solid Gold Rock ‘n’ Roll’ tours with Marty Wilde, Mark Wynter, John Leyton and others. And even more bizarrely he resumed his acting career, with appearances in the ‘Star Trek’ franchise series ‘The Next Generation’, ‘Deep Space Nine’ (as a Cardassian) and ‘Voyager’, as well as uncredited roles in four movies ‘Star Trek VI: The Undiscovered Country’ (1991) as a Romulan, ‘Generations’ (1994), ‘First Contact’ (1996) and ‘Insurrection’ (1998).


While again, music changes. In one era, and out the other. 1976 is a shallow period at the end of Glam, dominated by Disco, and the lounge lizard posturing that had already become Bryan Ferry’s arch pose, with revivals of 1930s Jazz standard “You Go To My Head”. In October 1974 Australian Gary Shearston took Cole Porter’s “I Get A Kick Out Of You” – complete with its ‘some get a kick from cocaine, I’m sure that if I took just one more sniff, that would bore me terrifically too,’ up to no.7. Surely there was no greater stylist than Hoagy Carmichael? So the third Sarstedt brother Clive – who’d once recorded for Joe Meek as ‘Wes Sands’, adopted his middle name Robin Sarstedt for recording purposes. And his smooth rendition of Carmichael’s “My Resistance Is Low” enters the ‘NME’ chart at no.21 (15 May 1976), climbing to no.11, then a high of no.3 (29 May) – where it stays for three weeks. He performs it on ‘Top Of The Pops’ as Pan’s People flounce in flimsy gowns. There were to be no further hits, but this achievement enabled the Sarstedt clan to become the only trio of brothers in British chart history to rack up separate solo hits.

EDEN KANE 

1960 – ‘You Make Love So Well’ c/w ‘Hot Chocolate Crazy’ (Pye 7N 15284)

1 June 1961 – ‘Well I Ask You’ c/w ‘Before I Lose My Mind’ (Decca F 11353) no.1 for the single week of 3 August, 21 weeks on chart

14 September 1961 – ‘Get Lost’ c/w ‘I’m Telling You’ (Decca F 11381) no.10, 11 weeks

1961 – ‘Well I Ask You’ EP (Decca DFE 6696) with ‘Get Lost’, ‘I’m Telling You’, ‘Well I Ask You’, ‘Before I Lose My Mind’

18 January 1962 – ‘Forget Me Not’ c/w ‘A New Kind Of Lovin’’ (Decca F 11418) no.3, 14 weeks

10 May 1962 – ‘I Don’t Know Why’ c/w ‘Music For Strings’ (Decca F 11460) no.7, 13 weeks

1962 – ‘Eden Kane: Hits’ EP (Decca DFE 8503) with ‘Well I Ask You’, ‘Get Lost’, ‘Forget Me Not’, ‘I Don’t Know Why’

1962 – ‘House To Let’ c/w ‘I Told You’ (Decca F 11504)

1962 – ‘Eden Kane’ LP (Ace Of Clubs ACL 1133) with ‘House To Let’, ‘Kiss Me Quick’, ‘Well I Ask You’, ‘Before I Lose My Mind’, ‘I’m Telling You’, ‘Music For Strings’, ‘Forget Me Not’, ‘My Little Sue’, ‘Get Lost’, ‘I Told You’, ‘A New Kind Of Lovin’’, ‘I Don’t Know Why’

1963 – ‘Sounds Funny To Me’ c/w ‘Someone Wants To Know’ (Decca F 11568)

1963 – ‘Tomorrow Night’ (Geoff Stephens, Les Reed) c/w ‘I Won’t Believe Them’ (R Graham) (Fontana TF 398)

1963 – ‘Like I Love You’ (R Graham) c/w ‘Come Back’ (Fontana TF 413) with Earl Preston And The TTs

10 May 1964 – ‘Boys Cry’ c/w ‘Don’t Come Crying To Me’ (Fontana TF 438) no.8, 14 weeks

1964 – ‘Rain Rain Go Away’ (Les Reed, Tommy Scott) c/w ‘Guess Who It Is’ (Fontana TF 462)

1964 – ‘It’s Eden’ LP (Fontana TL 5211) with ‘Gonna Send You Back To Georgia’, ‘I Know A Man’, ‘Sticks And Stones’, ‘Smoke Gets In Your Eyes’, ‘Shoppin’ Around’, ‘Rain Rain Go Away’, ‘I (Who Have Nothing)’, ‘On Broadway’, ‘I Should Care’, ‘Charade’, ‘Guess Who It Is’, ‘The Last Leaf’

1964 – ‘Hangin’ Around’ c/w ‘Gonna Do Something About You’ (Fontana TF 508)

1965 – ‘If You Want This Love’ c/w ‘Have I Done Something Wrong?’ (Fontana TF 582)

1966 – ‘Magic Town’ c/w ‘The Whole World Was Crying’ (Decca F 12342)


PETER SARSTEDT 

1967 – ‘In The Day Of My Youth’ c/w ‘My Monkey Is A Junkie’ (Major-Minor) as by ‘Peter Lincoln’

January 1968 – ‘I Must Go On’ c/w ‘Mary Jane’ (Island WIP 6028)

September 1968 – ‘I Am A Cathedral’ c/w ‘Blagged’ (United Artists UP 2228) arranger Ian Green, producer Ray Singer

5 February 1969 – ‘Where Do You Go To, My Lovely’ c/w ‘Morning Mountain’ (United Artists UP 2262) no.1 for four weeks from 26 February, 16 weeks on chart

1969 – ‘Peter Sarstedt’ LP (United Artists SULP 1219) with ‘I Am A Cathedral’, ‘Sons Of Cain Are Abel’, ‘No More Lollipops’, ‘Stay Within Myself’, ‘You Are My Life’, ‘Sayonara’, ‘Where Do You Go To, My Lovely’, ‘Blagged’, ‘My Daddy Is A Millionaire’, ‘Once Upon An Everyday’, ‘Mary Jane’, ‘Time Was Leading Us Home’, ‘Many Coloured Semi-Precious Easter Eggs’, ‘Time Love Hope Life’

4 June 1969 – ‘Frozen Orange Juice’ c/w ‘Aretusa Loser’ (United Artists UP 35021) no.10, 9 weeks

1969 – ‘As Though It Were A Movie’ c/w ‘Take Off Your Clothes’ (United Artists UP 35041)

1969 – ‘As Though It Were A Movie’ LP (United Artists UAS 29037) with ‘Overture’, ‘As Though It Were A Movie’, ‘Open A Tin’, ‘Step Into The Candlelight’, ‘Take Off Your Clothes’, ‘Letter To A Friend And Intermission’, ‘Overture’, ‘Boulevard’, ‘The Sunshine Is Expensive’, ‘The Artist’, ‘The Friendship Song (Hey Nena)’, ‘Juan’, ‘I’m A Good Boy’, ‘The National Anthem X Doors Close At 10:45pm’

1970 – ‘Without Darkness (There’s No Light)’ c/w ‘Step Into The Candlelight’ (United Artists UP 35075)

1971 – ‘Every Word You Say Is Written Down’ LP (United Artists UAS 29247) with ‘Every Word You Say’, ‘Down On The Flesh’, ‘You’re A Lady’, ‘Lay Down My Alibi’, ‘Let The Music Flow’, ‘Taxi Driver’, ‘Nexus’, ‘Mind Of Man’, ‘What Makes One Man Feel’, ‘Slow’, ‘Stand Outside Ourselves’, ‘Politics Is Showbusiness’, ‘Rain’, musicians include BJ Cole (steel guitar), Clive Sarstedt (slide guitar), Max Middleton (piano), Cozy Powell (drums)

May 1972 – ‘Every Word You Say’ c/w ‘What Makes One Man Feel’ (United Artists UP 35369) produced by Vic Smith, Clive and Peter Sarstedt

Peter Sarstedt died 8 January 2017 

SARSTEDT BROTHERS 

1973 – ‘Worlds Apart Together’ LP (Regal Zonophone SRZA 8516) with ‘A Way Leading Out’, ‘Kurseong’, ‘Mohammedan Girl’, ‘Here We Are In London Town’, ‘All Together Now’, ‘The Genuine Romanoff’, ‘You’re Just An Image’, ‘Searching For The Truth – Love Love Love’, ‘Sea Wall’, ‘Glory Glory’, ‘Catch The Next Train’, ‘World Apart Together’ with Eden Kane, Peter and Clive Sarstedt, produced by Tony Visconti with Dave Mattacks (drums), Roy Babbington (bass), Danny Thompson (double bass), Ray Cooper (percussion), Blue Weaver (piano), Mary ‘Opkins



ROBIN SARSTEDT 

1963 – ‘There’s Lots More Where This Came From’ (Hal David, P Hampton) c/w ‘Three Cups’ (Meek) (Columbia DB 4996) As ‘Wes Sands’, produced by Joe Meek

1969 – ‘Lo Mucho Que Te Quiero (The More I Love You)’ c/w ‘Picture On The Wall’ (SNB/ CBS 3965) as ‘Clive Sands’

March 1969 – ‘Hooked On A Feeling’ c/w ‘Marie’ (Clive Sands) (SNB 55-4058) as ‘Clive Sands’

July 1969 – ‘Witchi Tai To’ c/w ‘In A Dream’ (C Sarstedt) (SNB 55-4431) as ‘Clive Sands’

December 1969 – ‘A Very Lonely Man’ c/w ‘You Made Me What I Am’ (Clive Sands) (CBS 4672) as ‘Clive Sands’

8 May 1976 – ‘My Resistance Is Low’ c/w ‘Love While The Music Plays’ (Decca F 13624) no.3, 9 weeks. Arranger Ian Green, producer Ray Singer

1976 – ‘Let’s Fall In Love’ c/w ‘So Long Lonely Nights’ (Decca F 13662)

November 1976 –‘Sitting In Limbo’ c/w ‘Love Is All I Need’ (Decca F 13677)

1977 – ‘Just Tell Her Jim Said Hello’ c/w ‘All Said And Done’ (Decca F 13705)

1978 – ‘Something For The Weekend’ LP (Decca TXS 130) with ‘My Resistance Is Low’, ‘Something’s Goin’ On’, ‘Written On The Wind’, ‘Down The Disco’, ‘Manhattan’, ‘Slip Away’, ‘Keepin’ My Head Above Water’, ‘French Waltz’, ‘Sitting In Limbo’, ‘Blackjack’, ‘Jewellery Store’, ‘Let’s Fall In Love’

PETER AND CLIVE SARSTEDT 

1997 – ‘Asia Minor’ LP (Disky BX 880242) with ‘Dream Pilot’, ‘Teradactyl Walk’, ‘Glider’, ‘India’, ‘The River’, ‘Corigador’, ‘Vaguely Connected’