Stand by to download the single that could easily become a major hit. Electronica rules OK.

With the release of their albums on Repertoire, including 2008’s CD ‘Now’ and Seventies’ classics ‘Jade Warrior,’ ‘Last Autumn’s Dream’, ‘Eclipse’, ‘Fifth Element’ and ‘Released’ the group headed by vocalist Glyn Havard and flautist Jon Field has gained many new fans and strong media attention.

American radio listeners have been tuning into KUSF 90.3 FM to hear DJ Bryan Chandler enthusing about the group, playing their tracks and interviewing both Jon and Glyn, Check out the link below to hear a programme that spotlights the band and provides fascinating insight into the music of a group still making challenging sounds.

Listen to the KUSF show here

Alvin Lee and his trio made a welcome trip to Germany recently when they performed a special show at the famous Mercedes Benz Museum in Stuttgart. The museum has an open air stage where music events can be put on for visitors and so it was a lucky day for rock’n’roll and motoring fans when Alvin and friends roared in for a gig there on July 17.

As can be seen from our exclusive video clip and photographs supplied by Alvin the lads including Pete Pritchard (double bass) and Richard Newman (drums) thoroughly enjoyed their visit. As well as posing with a super charged racing car they played some high octane boogie. We see them accelerating away on ‘I’m Goin Home’ a number first performed by Alvin with his original group Ten Years After on the 1968 album ‘Undead’.

Mercedes Benz Museum Open Air Stage, Stuttgart Germany, 17 July 2010

ELP in Japan 1972 with Repertoire's Chris Welch

On a hot dry weekend, thousands of fans trekked to Victoria Park in London’s East End and enjoyed one of the best ever UK festivals. Veterans of many a past mud spattered rock battle ground revelled in the superb music, excellent viewing, food and drink and a fun packed fairground.

While top bands blasted away on three stages, there were plenty of other attractions, notably the Ace Café, a marquee with its own DJ and a ‘live’ stage featuring hot blues acts such as guitarist Stephen Dale Petit with guest ex-Rolling Stone Mick Taylor and solo singer Sasha. Even more fascinating was the unexpected sight of the late Ronnie Lane’s blue and silver LMS mobile studio. (The iconic airstream van is now owned by Pretty Things manager Mark St.John, who bought it in 1983).

ROCK STARS
Amidst the hordes of fans from all over the world, including Germany and the USA, were many music biz folk. Inside the VIP area we spotted Rick Wakeman, who revealed he is planning a tour with old Yes mate Jon Anderson in the Autumn. We also bumped into Scot singer Fish, watching his old band Marillion in action.
Jerry Ewing, founder of Classic Rock magazine that sponsored High Voltage was also on hand to reveal that the festival had been such a big success, it will be repeated next year.

On the Sunday session that Repertoire attended we were delighted to see old mates the Quireboys on the main stage, followed by UFO blasting through their best loved number ‘Doctor Doctor’. Bachman, Turner Overdrive and blues man Joe Bonamassa provided more afternoon entertainment, hotly pursued by Def Leppard’s Joe Elliott singing with his current outfit Down’n’Outz. Ian Hunter of Mott The Hoople fame appeared with Joe, clad in his trademark dark glasses and bringing a touch of rock star chutzpah. (It has since been alleged that there was a ‘fracas’ on stage when the power was cut to prevent Hunter singing another song and causing the show to over run. He is supposed to have whacked the offending crew member with his guitar in frustration, although we didn’t witness this rock’n'roll moment).

WISHBONE ASH
On the Prog Rock stage we caught Martin Turner’s Wishbone Ash with drummer Dave Wagstaff powering up the band. Old mate Ted Turner was a surprise guest and the Ash cheerfully roared through a selection from their ‘Argus’ album and such numbers as ‘Leaf And Stream’ and ‘The Warrior’.

Recalled Martin Turner: “The last time we did an open air gig in London was at the Oval in 1972.” (As we recall that show as sponsored by Melody Maker and also featured ELP). Wishbone Ash was followed on stage by legendary guitarist Steve Hackett, who was spotted driving to the gig on an electric golf buggy he proclaimed was ‘better than an E-Type Jag.’

Steve drew an enthusiastic crowd and played brilliantly before giving way to Magnum led by Tony Clarkin and heavy rock godz Uriah Heep, the latter performing songs from their 1972 ‘Demons & Wizards’ album.

ARGENT
Argent performed together for the first time in many moons, with Rod on keyboards, Russ Ballard (guitar and vocals), Jim Rodford (bass) and Bob Henrit on drums. They stomped through old faves ‘Keep On Rolling’, ‘It’s Only Money’, ‘Liar’ (a hit for Three Dog Night), the pounding ‘Hold Your Head Up’ and ‘God Gave Rock’n’Roll To You’ (a 1992 hit for Kiss).

Reminding the crowd of Argent’s ancestry Rod also introduced ‘She’s Not There’ , a 1964 hit for his former group The Zombies. Few bands at High Voltage had quite so many hits at their disposal.

Marillion who followed Argent on the prog stage, played with earnest intensity to a devoted crowd who cheered to them to the echo, although they lacked a bit of the Fishy magic of former days.

ELP’S GRAND RETURN
One of rock’s most dynamic, and exciting groups, it was wonderful to behold ELP closing the festival with a block busting set. Fans packed around the main stage waited with bated breath and weren’t disappointed. As darkness fell around 9 p.m the huge video screens displayed pin sharp images of Keith Emerson, Greg Lake and Carl Palmer tearing into their opening salvo ‘Welcome Back My Friends To The Show That Never Ends.’

As spotlights swirled over the trio, Greg took up position as vocalist, bassist and guitarist extraordinaire, clad in a stylish gold waist coat and singing with all his old clarity and authority. Carl took centre stage, all in white and in command of a double bass drum kit and forest of cymbals.

Keith, the ultimate keyboard wizard took charge of his mighty array of instruments including a vintage Moog synthesiser, and seemed very happy to be back in the saddle with a band that has created so much innovative music.

ELP always understands an audience’s need to be entertained. Hence mixing ballads such as ‘Lucky Man’ and ‘Take A Pebble’ with blasting instrumentals and moments of outrageous showmanship. Once more Keith shamelessly capered across the stage with his synth stick spurting showers of sparks before returning to the piano for breath taking keyboard pyrotechnics. ‘The Barbarian’ from the band’s 1970 debut and ‘Bitches Crystal’ from ‘Tarkus’ (1971), were simply stunning.

With Carl smashing into his mighty gong and executing high speed snare drum rolls, the trio moved into a higher gear. As they climaxed with ‘Pictures At An Exhibition’ we were left hoping for a full ELP tour. It’s one show that must never end.

Who signed Magna Carta? Was it King John or a former traffic manager and mortuary assistant called Chris Simpson? In the case of the acoustic folk group it was definitely Mr. Simpson, the jovial Yorkshireman who signed his merry men to a major record label in days of yore.

The original Magna Carta was the great charter signed at Runnymede in 1215, recognising the rights and privileges of English barons, church and freemen. But the latter day contract between musicians and employers in 1970 was a somewhat less grand affair, signed not on parchment but on the back of a beer mat.

It’s a story that Simpson loves to tell, whenever he looks back on the ancient history of the group he has led for some four decades. And Chris has many stories to tell whenever a glass of ale comes to hand in the nearest comfortable inn. With Magna Carta’s great albums now freely available to all men of wealth and property (i.e. anyone who can afford to buy a CD), it is perhaps appropriate to recount the tale of the man who has worn many hats during an extraordinary career.

The singer songwriter has travelled the world and seen and done many things during his lifetime but the creation of Magna Carta, finest of all English folk groups is perhaps his proudest achievement. Declares the proud Yorkshire man: “I’m not a folk artist. I see myself as a writer who uses the acoustic guitar as my work bench to create songs.”

THE SIMPSON SAGA

Christopher John Simpson was born in Harrogate, Yorkshire on July 13th, 1942 and grew up in the Dales. He resided in London for many years during the heyday of Magna Carta and has lived and worked abroad from South Africa to the Middle East. In 2007 he had returned home to live in an idyllic Yorkshire cottage by a trout filled stream that provided the much-travelled composer with peace and tranquillity he needs.

Says Chris: “I’ve never liked cities and can’t under stand why people want to live on top of each other. So all my songs reflect that feeling. Dare I say that I was one of the first ecologists? Why fret away in a high rise city office, where can’t you hear the wind blow?”

The well known music critic Fred Dellar once called Chris Simpson ‘the English Paul Simon’ and Simpson admits that early on he was swept away by such Simon compositions as ‘The Sound Of Silence’, ‘Mrs. Robinson’ and ‘America’. “Yes, I loved Paul Simon’s work, he was such a fabulous writer. His ‘Something So Right’ inspired me to write one of my own best songs called ‘Mixed Up Sensations’.

Long before Chris embarked on the road as a songwriter with Magna Carta he underwent a musical apprenticeship playing in rock or pop groups, even trying to established a solo career under different names.

It was all part of growing up in the Sixties. However, he also he had quite a few unusual ‘day jobs’ including working as a post mortem assistant, which involved some grisly activities best left undescribed.

He also worked as a traffic engineer and studied religion, a curious combination of disciplines. “I did a degree in theology and qualified to be a Church of England priest. I got my degree but the guitar and music pulled me in a different direction.”

Inspired by his favourite pop artists he began recording as a solo artist often under different names and for a variety of labels. His first break came when he met Cyril Stapleton, a well-known bandleader.

CLAPTON’S PICK

“Cyril Stapleton and Geoffrey Everett the head of Radio Luxembourg decided to organise a talent search. They found a group from Newcastle called The Chosen Few with Alan Hull, who was later the singer with Lindisfarne. I was singing with a guy called Forbes Bainbridge. Because of the success of Peter & Gordon we became Chris & Forbes and along with The Chosen Few, we won the contest.”

Chris & Forbes did two singles for Fontana without much success. Then in 1966 Simpson signed to Decca and released a single ‘Virgin Sunrise’ under the name of Christopher Colt. Then it was time for another name change when his latest outfit was booked to support a big name rock group for a gig at Sussex University.

Chris: “We were called The Paul Stewart Movement and we arrived in a furniture van with our Vox AC 30s only to find huge Marshall Stacks and a double drum kit set up on stage. I was told it belonged to some outfit called Cream. We had set up in front of all their gear. Their totally stoned roadie came over and asked us if we had any spare guitar picks we could lend to Eric Clapton. I gave him a handful of picks and he said ‘Thanks man’. Then Clapton came over and he looked great in his long sideburns, just like he did on the John Mayall Bluesbreakers album cover.

He was very grateful for the picks and said ‘Thanks man, somewhere down the road I want you to remind me of that.’ Eric was with some beautiful girl and he danced to every tune we played, stuff like ‘Bebop A Lula’ and ‘Roll Over Beethoven.’ Then Cream played and he announced a number from 1927 by the Memphis Jug Band called ‘Take Your Finger Off It.’ It was wonderful – they were so good. But I never met Eric again!”

‘Paul Stewart’ went the way of ‘Christopher Colt’ as the music scene underwent rapid changes during the late Sixties. Few could hope to compete with Cream or the Jimi Hendrix Experience, but there was undoubtedly room for bands where songwriting and musicianship were considered important. While many were going the hard rock and blues route, the alternative world of folk beckoned. Chris Simpson was keen to find the right environment for his own writing and singing and a trip to a famed London folk venue helped push him in a new direction.

YE ANCIENT BEER MAT

Magna Carta was formed in May 10, 1969 featuring Chris Simpson (guitar, vocals, harmonica), Lyell Tranter (guitar, vocals) and Glen Stuart (vocals). However it took a while before all the members were assembled and the group’s name was chosen. Chris remembers that they signed their first record deal on the back of a beer mat in a pub. “Yeah” he laughs. “A lady called Barbara Hayes of CBS rated me as a songwriter and gave me a lot of help and encouragement. She cut me down to size when I thought I was the greatest songwriter in the world. But she helped me find my individuality and kicked me into shape. I owe her great deal. She organised a showcase session for myself, my ex-wife Mary and Lyell Tranter who was a classically trained musician from Australia.

“We played all the songs we had that night and Barbara got A&R man Brian Shepherd down to hear us. I had known him as a tape operator at Radio Luxembourg. At the end of the session he said ‘I think we’ve got a deal.’ I picked up a beer mat in the pub and said ‘Would you sign this?’

Sadly I’ve lost the beer mat since but he signed it and I said ‘That constitutes a contract.’ It was our first contract and we cut four tracks with the Johnny Arthey Orchestra, myself, Mary, Spike Hughes on bass and Lyell Tranter. It was like Mantovani meets the New Seekers. Luckily that didn’t survive but there was this contract. “

They began work on an album and Glen Stuart now joined the putative group. Says Simpson: “Glen Stuart was always an uneasy bedfellow in musical terms. Lyell and myself advertised for another member to complete the group and ended up with Glen. Sadly it ended in acrimony, but let’s just leave it at that.”

Chris feels the true origins of the group came when he and Lyell visited the London folk venue Les Cousins one night and were blown away by a bill that included The Strawbs, Mike Chapman and Ralph McTell. “I listened to all these artistes and I just crept out and didn’t play a note. But that all changed later, when we formed Magna Carta. We were different from any other group around but we were essentially English with a lot of American feeling. Then we recorded the first ‘Magna Carta’ album, which was born out of that beer mat contract!”

GENESIS? `TOO BIBLICAL MAN`

The name of the band has always been somewhat controversial. Chris: “I originally wanted to call us Village but Brian Shepherd said there was a blues band with that name. We had to think up some more titles. In those days groups had weird names like Procol Harum and Jethro Tull. So I came up with ‘Genesis’ because I had a background in theology. Brian goes: ‘Genesis? Too Biblical.’

The next name on my list was Magna Carta. He says: ‘I like that one. What does it mean?’ I explained it was the great agreement between King John and The Barons, a charter of freedom. He goes ‘Freedom, freedom…protest song…that’s the one!’ I can’t stand the bloody name actually. But we got stuck with Magna Carta.”

‘Magna Carta’ was first released in 1969 and included a song called ‘Romeo Jack’. Explains Chris: “’Romeo Jack’ was about a rake – who was me! The production was by Brian Shepherd who later became the head of EMI. He was a lovely guy but he did naff all in the studio. The next album ‘Seasons’ (1970) included ‘Elizabethan’ and ‘Airport Song’ one of the group’s most popular pieces.

“By the time we did ‘Elizabethan’ we had Gus Dudgeon producing. ‘Airport Song’ was a hit four times in Holland and popular all over the world. They bought us champagne and roses when it became Tony Blackburn’s ‘Record Of The Week’ on the radio.”

AIRPORT SONG

However a change in the way pop charts were compiled and distribution problems meant that ‘Airport Song’ failed to make the UK charts. “These things happen,” says Chris philosophically.

‘Songs From Wasties Orchard’ (1971) the band’s third album was their second on Fontana’s subsidiary Vertigo and has been acclaimed by critics as their ‘magnum opus.’ With the help of the late Gus Dudgeon, ‘Wasties’ became a best seller and remains one of Magna Carta’s best-loved works.

Simpson: “By the time we got to ‘Wasties Orchard’ Gus had become a friend as well as our producer. In 1970 he had taken over a fairly primitive acoustic act, which had made a promising first album and transformed the next album, which was ‘Seasons’. He made into a work of art that sold in truckloads all over the world. However, by the time we did ‘Wasties’ Lyell had gone back to Australia and the great Davey Johnstone came in.”

This fine young guitarist had played on ‘Seasons’ and was invited to record the whole of ‘Songs From Wasties Orchard’ with the group. Chris recalls that he first he saw Davey Johnstone in action was while performing ‘12 Street Rag’ on a mandolin upside down and behind his head on a wet morning at the Cambridge Folk Festival.

“He was one helluva dude! He is one of the greatest musicians I have ever known. He’s not good – he’s frightening. Funnily enough the only truly great acoustic stuff he did was with Magna Carta.” Not long after Davey Johnstone made his contribution to ‘Wasties’ and to ‘In Concert’ (1971), he left Magna Carta to forge a new career with Elton John and Kiki Dee. He made his debut with Elton on ‘Madman Across The Water’ (1971). Gus Dudgeon also departed from Magna Carta after ‘In Concert.’ Says Chris: “I thought we were finished and then we made ‘Lord Of Ages’ (1973) with Tony Cox producing and that eclipsed everything we had done before.’

INSPIRATION

When people ask Simpson about the source of his inspiration he explains the lyrics are often born out of everyday observations. “I lived in London for 12 years and I would often just walk along noticing people and what they were doing. A third of this collection of songs was written on the road. Otherwise I’d see song writing as a discipline and I’d sit down at 9.30 a.m. and work until 8 p.m. and just write. We once did an album called ‘Lord Of The Ages’ (1973) which is about God and where it came from I’ll never know. I felt scared and frightened just hearing it played in some venue. The record would come on and then people would write to me say the songs had given them hope, peace and belief.”

Simpson believes ‘Lord Of Ages’ sold over a million copies but says he never received any royalties. “It was all down to management problems. I should be a multi-millionaire by now. But – forget it! “

Magna Carta released ‘No Truth In The Rumour’ (Ariola) in 1979 and carried on into the Eighties, when Chris Simpson teamed up with singer Linda Taylor who performed on his solo album ‘Listen To The Man.’ The couple subsequently travelled to the Middle East to run a music club.

Says Chris: “By 1981 we had become a rock band and then I realised we weren’t a rock band anymore. Just when I thought it was all over I was invited to play in the Middle East, if I could bring a girl singer with me. I knew Linda Taylor who had been singing on sessions with us. Suddenly it changed from being a rock band to going back to where we started, with a lady singer”

The pair went to the Middle East for two years and hosted a club called Downstairs at the Intercontinental Hotel, Abu Dhabi. Chris: “Talk about luxury. All the stars used to drop in. In one week we had the comedian Jimmy Edwards, Johnny Speight, The Hollies, Cilla Black, Kenny Ball and Acker Bilk. We created an alternative atmosphere to the usual lounge suit vibe at the club and the policy won hands down.”

THE FUTURE BECKONS

By 1986 Chris and Linda were back in the UK reviving Magna Carta. In 1988 they released ‘One To One’ and then in 1990 Chris and Linda married and continued the group as a duo, expanding the line up as necessary for various tours. (Sadly they split up in 2010).

The group played a ‘farewell’ concert in Holland in 2009 but Chris plans to continue live work with trips to South Africa planned for 2010.

Looking back was Chris satisfied with Magna Carta’s career? “Oh yes I was satisfied with what we achieved. Were we robbed and ripped off along the way? Yes we were. But there was so much great music created and there is more that we can do. When I finally stop playing and can’t play anymore I’ll concentrate on writing books. I’ve written two already!”

Further Reading: ‘The Complete Works Of Magna Carta’ (Chris Simpson) 2002

Crispian St.Peters the Swinging Sixties’ pop star who hit the charts with ‘Pied Piper’ has died at the age of 71. Blessed with a mellow vocal style, his songs were featured on a Repertoire tribute CD ‘The Best Of Crispian St.Peters’ released more than a decade ago and still available. When the collection was first proposed back in 1996, Repertoire’s Thomas Neelsen and Chris Welch went to meet Crispian at a pub near his home in Swanley, Kent, where he reminisced about his career and the ‘good old days.’

After being neglected for many years, he was pleased the record industry was taking an interest in his work once again. Just a few years earlier in 1990 he had recorded a new album with songwriting partner Roger Rounce called ‘New Tracks On Old Lines’ that included an updated version of ‘The Pied Piper.’

Crispian confessed he’d had a hard time after his initial success in the pop world, but remained proud of his achievements that included ‘Pied Piper’ andanother Top Ten hit ‘You Were On My Mind’ both in 1966.

SKIFFLE DAYS

Real name was Robin Peter Smith; ‘Crispian’ was born on April 5, 1939 in the house where he was still living in his old age. His parents were Phyllis and Gerald who owned a plant nursery in the village of Swanley. He grew up in a musical family and most of his relatives played instruments.
After leaving school at 15, he worked as a cinema projectionist and in a paper mill. He was inspired to become a musician on hearing Lonnie Donegan’s 1956 hit `Rock Island Line`. Peter formed the Hard Travellers skiffle group that played at Chislehurst Caves and the Skiffle Cellar in Soho.

Called up for national service he was in the Army when he heard a concert by rock’n'roll star Gene Vincent. The experience encouraged him to write his own songs. On leaving the army he formed the Beat Formula Three. In 1963 the group was spotted by David Nicolson of EMI who saw potential in Peter Smith’s voice. He was subsequently signed to Decca and Nicolson suggested Peter change his name to ‘Crispin Blacke’ which Smith amended to the more stylish ‘Crispian St Peters.’

His first two singles for Decca, `At This Moment` and `No No No` failed to chart. Then Nicolson heard an American hit `You Were On My Mind` a wistful ballad composed by Sylvia Fricker of the folk duo Ian and Sylvia. When St Peters refused to record the song, the manager appealed to his artist’s mother to persuade him. Once in the studio, the track was arranged by organist Harry Stoneham and the young Jimmy Page played guitar.
`You Were On My Mind` was released in December 1965 and the following year reached No 2 in the British charts. Crispian St Peters gave an ill-advised interview to the New Musical Express in which he claimed his songs were better than The Beatles’ and that his stage show made Elvis Presley seem – ‘like the Statue of Liberty’. For good measure he added that he was sexier than Tom Jones.

THE FAME GAME

After protests from fans he later claimed his remarks were all tongue in cheek. Next single `The Pied Piper` was co-written by Artie Kornfield, who organised the Woodstock festival. Pirate radio plays helped it reach No 5 in the UK charts. `The Pied Piper` was also a hit in Canada, Australia and America and Crispian went on tour of all these countries.
He was by now a big star and a fixture on the Swinging London night club scene. But the wild life took a toll and ultimately damaged his career and his health. `I was crazy` he said in 1996. The singer sat with friends in the pub where he was better known as `Peter` and chatted with wry good humour about his escapades. He admitted he’d sometimes sign contracts without even reading them. For St.Peters business was a mysterious affair, best left to ‘experts’.

But this laisses-faire attitude was not always been to his advantage. Over the years he suffered three nervous break downs, a divorce and a stroke which left him paralysed in one arm. But he carried on doing what he knew best, singing a good tune with warmth and feeling.
Crispian recalled his childhood: `I was a war baby. I remember the V1 Doodle Bugs flying over and falling on farm land. They made great big holes in the potato fields!`

He was still at school when he was inspired by Lonnie Donegan. `I started out singing with a six piece skiffle group back in 1956. You only had to know three chords and you were a musician. We used to work down at the Chislehurst Caves for three pounds a night.` When skiffle lost its appeal, Crispian and his mates delved into rock’n’roll and country music. They played songs by Elvis Presley, Buddy Holly and Hank Williams.

On leaving school Crispian worked by day at a paper mill and played at gigs at night. Then he joined the Army and while training managed to escape from the barracks and saw a concert by Gene Vincent and Sounds Incorporated. It inspired him to get back into the music scene and began writing his own material. `I eventually came out of the Army and began singing in working men’s clubs in a duo called the Two Tones.`
Tired of this limited format he stared the Beat Formula Three sometimes called the P-Mix. `We began touring and then in 194 I met David Nicolson who would become my manager. That’s when it all started.`

YOU WERE ON MY MIND

After hearing some demos Nicolson signed the singer to a ten year management and production deal. He arranged the distribution deal with Decca and dreamt up a new name for his artist. As we have described, `Crispian St.Peters` was born. As he’d called himself ‘Woody Smith. In his skiffle group days, he wasn’t worried about using a stage name.

Crispian was groomed for stardom and the Beat Formula Three were dumped to be replaced by The Puppets from Preston a professional group that had backed Jess Conrad and Tommy Bruce. After his first two Decca singles were unsuccessful, it was in some desperation that Nicolson persuaded Crispian to cover ‘You Were On My Mind’ which had been recorded in California by the We Five quintet.

Crispian: `David said `Try the song, please`. And I said `No, it’s horrible!` He got down on his bended knees to my mothers and said: `Please get him to do this, it’s going to be a hit.` And of course it was. I wished I’d had the money for it though.`
The recorded was produced by Nicolson at Advision Studios in New Bond Street, London in 1965 and was recorded on a 4-trck Ampex. Backing was provided by organist Harry Stoneham with Vic Flick from the John Barry Seven on guitar. Jimmy Page played the rhythm guitar and was paid £12 for the session.

The ‘soft-loud’ arrangement was quite unusual and enabled Crispian to show off his vocal range, By January 1966 ‘You Were On My Mind’ was rocketing up the UK chart peaking at No. 2. It was an American hit later in the year when Crispian’s version got Number 36 in the Billboard chart.
His hold on the chart was further established when follow up single `Pied Piper` leapt to Number 5 in the UK and also got to Number 4 in the States. Crispian: `It was also Number One in Canada. I appeared on TV and even did a tour of America but everything was thrown together too quickly.`

After `Pied Piper` Crispian hit with a Phil Ochs song called `Changes` but only got to Number 47 in the UK in September 1966. While royalties were slow coming Crispian was getting some financial reward, through touring `I bought a Jaguar Mk.11 which I’d always wanted, which I later gave to my road manager. Then I bought myself a new 3 litre Rover, which was a lovely car.`
As for his ‘Cassius Clay of pop` mouthy image he said: `The rows with P.J.Proby wasn’t me saying all that. It was Nicholson’s idea. I don’t normally say boo to a goose. It was all a big show that I put. Deep down I’m really shy.`

Crispian carried on raving it up. `After the shows I enjoyed the women, the sex and the booze!` He went clubbing and remembers seeing Jimi Hendrix at Blaises for the first time. `The Beatles were in the audience and Jimi was really outstanding. After the clubs I spent most of my time at Heathrow Airport going off to tour Germany, America and even Singapore. I’d pick up a group in each country. The best backing band I had was in Australia.`
Everything seemed to be going well but gradually he found himself playing working men’s clubs. `It was a nightmare really. I just did it for the money, which wasn’t a lot.`

ROCK’ROLL BREAKDOWN

In 1970 he stopped touring when he had his first breakdown. `It happened after I got married. I married the wrong one. Then I had another breakdown and then another, all during the Seventies. It was caused by the music business…and adultery. `
Crispian split with his old manager and began working with composer Roger Rounce who wrote such tunes as `Oh Caroline`, `It Ain’t The Same` and `Country Roads (I Almost Made It Back)` that Crispian recorded under the name of Wheels in 1971. In 1990 Crispian recorded ‘New Tracks On Old Lines’ that Rounce produced.

By 1996 the singer admitted he couldn’t really do much on stage anymore apart from some solo spots in Germany and gigs with local group Old Crow. Looking back over his career Crispian said ruefully: `This rock’n’roll business, it wears you out. I worked it out that I only ever earnt £37,000 in forty years which is chicken feed. But I can’t blame my manager. At least he made me famous. It was always my ambition to be a pop singer but it was a struggle. I only just scratched the surface but I had a good go. I’m getting tired now. I want to pack it up. But then George Burns (the comedian) makes me look silly. He died aged 100 and he was still going strong!`

Robin Peter Smith (Crispian St Peters), singer and songwriter, born 5 April 1939. Died 8 June 2010

`How do I relax? I don’t!` Steve Harley was once asked how he coped with the pressures of Cockney Rebel. He revealed he was always wired up and ready for action. That was back in the days when `Make Me Smile (Come Up and See Me)’ was a massive hit for the singer/songwriter in the Seventies. It was also the first time we interviewed Steve and he still remembers the questions we asked then. `It’s funny to look back on those days’ he says. `And now I’m back and touring again!’

This summer Repertoire is proud to present Steve Harley’s latest album ‘Stranger Comes Town’ as well as his 1996 classic ‘Poetic Justice’ and ‘The Quality Of Mercy’ from 2005. And we were able to catch up with Steve in the midst of his recent UK tour with Cockney Rebel, when he performed many of the songs from all his albums.

From the UK he went on to Denmark and Norway with his eight piece band and was scheduled to appear at the Glastonbury Festival (June 26) on his return to England. In October 2010 he will embark on a major tour of Germany. So, as Steve explains he still doesn’t have much time to relax even after 35 years in the music business.

SOUTH LONDON BOY
Steve Harley was raised in South London and remains is friends with such local stars as Glen Tilbrook of Squeeze and Danny Bowes of Thunder. He had a career mapped out as a journalist and writer but soon realised that pop music in all its forms was the main attraction in his life. His teenage dreams came true when his group Cockney Rebel hit the charts with the self penned ‘Make Me Smile (Come Up And See Me)’ their Number One UK smash in 1975.

Yet it wasn’t all fun and fantasy when Steve was a youngster. There came a blow to his health as a child that remains a cause for concern to this day. It is against this background that one can understand Harley the ambitious, restless and driven man who confesses he still finds it hard to relax.

Steve was born Stephen Malcolm Ronald Nice in Deptford, London, England on February 27, 1951. His agent Danny Bowes, former singer with heavy rock group Thunder, is also from South London. Says Steve: “Danny is a Greenwich boy and my dad was his milkman. Isn’t it a small world?’”(Note: Since this interview Danny has left The Agency and is planning a fresh start in the music business).

Steve was stricken with polio as a child and spent four years in hospital up the age of 16. It was in hospital that he first heard Bob Dylan’s records that inspired him to become a writer, singer and performer. He’d already been given his first guitar at the age of 10 and also played violin with his school orchestra, an experience that would serve him well in the future.

In 1968 at the age of 17 Harley left Haberdashers’ Aske’s College to begin work as an accountant on the Daily Express in Fleet Street.

FRONT PAGE NEWS
From there he began work as a local newspaper reporter with the Essex County Standard and once a month had to proof read copy at QB Printers in Colchester, a facility shared by Melody Maker and New Musical Express. “I was in awe of the music press guys who arrived to read the proofs. I was always playing the guitar and I’d be thinking ‘Bloody hell – that guy writes for Melody Maker!’”

Steve remains proud of his days as a reporter and especially having a by-line as ‘Steve Nice’ in the first issue of the newly launched Colchester Evening Gazette. He later served on the East London Advertiser, a much tougher assignment. “That was Kray Twins land. I went there in 1971 and the Krays had only just ‘gone away’ (to prison).
When I left and gave it all up Richard Madeley got my job. (Richard later became a one half of the ‘Richard & Judy’ TV journalist team).

When Steve and Richard met many years later at an Ivor Novello Awards ceremony Harley was hosting in London. Richard enthused to Steve about he had given him his opportunity to get into the media.

Harley: ‘But we didn’t overlap working on the Advertiser because I got the sack! In fact I wanted to leave and get out of journalism. It was hurting people when I had to write stories about 55 year old women being arrested for shop lifting. I didn’t like that aspect of the job. It was just not fair. The women had families and grand children and there was no need to print that rubbish. But the editor used to insist on those stories being covered.”

When announced he wanted to leave his union representative Ivan Waterman (who later worked on Today and the News of the World) advised that if he resigned he wouldn’t get any unemployment benefit. But he would if the editor sacked him. “So I stopped wearing a tie, grew my hair really long and in the end the boss said: ‘I’m going to have to let you go.’”

HUMAN MENAGERIE
Harley went straight on the dole and began busking in Marble Arch in London’s West end and wrote the songs that eventually appeared on his debut album ‘The Human Menagerie’ in 1973. Cockney Rebel then included Jean-Paul Crocker, Paul Jeffreys, Milton Reame-James and Stuart Elliott and were famed for their glammy image and white satin trousers.

Steve: “When we started out we were given a Sunday night residency at the Speakeasy Club. Fans used to queue around the block. That’s how I got my first record deal. Dave Most came in with a blank cheque and gave me a publishing deal with Rak and EMI sent a scout and their A&R man signed us for three albums. They gave us a chance to develop, y’know?”

COCKNEY REBELS
The band enjoyed a debut hit with ‘Judy Teen’ a Harley composition that got to Number 5 in the UK charts in May 1974. This was followed by ‘Mr. Soft’ a Number 8 hit in August that year. Cockney Rebel’s second album ‘Psychomodo’ was released in 1974. Then came the big one. ‘Make Me Smile (Come Up And See Me)’ was a Number One hit single in February 1975 and the spot light fell on the young singer.

Cockney Rebel continued to hit the charts with such songs as ‘Mr. Raffles (Man It Was Mean)’ in 1975 and a cover of George Harrison’s ‘Here Comes The Sun’ was a surprise hit for Steve when it got to Number 10 in the UK charts in 1976. Then the Punk rock began to destroy the UK music scene’s credibility in the late Seventies and many talented musicians either fled the scene or retired. Cockney Rebel broke up, Steve went to live in America for a few years.

Harley returned to the U.K. charts in1983 with ‘Ballerina (Prima Donna)’. He later duetted with Sarah Brightman in the title song from ‘The Phantom Of The Opera’ a hit in 1986 and finally returned to the UK Top 50 with a re-released version of ‘Make Me Smile (Come Up and See Me’).

In 1996 he released album ‘Poetic Justice’ now due out on Repertoire. It presents Steve in fine voice on a selection of original songs together with some intriguing ‘covers’. It was recorded with acoustic musicians at a country studio in Sussex. As well as ‘originals’ they tried out a few welcome cover versions of such favourites as ‘What Becomes Of The Broken Hearted’ (by Jimmy Ruffin), ‘Crazy Love’ (Van Morrison) and ‘Love Minus Zero’ (Bob Dylan). Steve recorded the latter as a tribute to the artist who was such an inspiration.

In the studio he played ten harmonica tracks, one on top of each other. “I didn’t listen to anyone of them in my headphones. I did ten independent ‘takes’ and then put all of them on one track. “This was deliberate to produce a cacophony of Dylan-esque harmonica. It’s like an orchestral cacophony of harmonicas. But I was being too subtle and no one ever gets it! But I do love that Dylan track.”

HEY MR.DYLAN
Steve eventually got to meet his hero, three years after the album was released. He was visiting a pop festival in Stratford starring Dylan and Van Morrison. “I wasn’t actually performing but my guitar player Alan Derby was playing for Van Morrison who was on the show before Dylan. So I got an ‘Access All Areas’ pass from Alan and watched the show from wings. I was right next to the mixing desk watching Dylan and his band.”

After the show Steve shared in the same hospitality tent as Dylan and his bandsmen. “An hour later they were still there and as they passed by on their way out, I just knew I had to introduce myself. I’d been listening to him since he changed my life when I was 12 years old. I’d got to stand up and say ‘hello.’ So I put my hand out and said: ‘Bob…Steve Harley.’ And he said ‘Oh, yeah, hey, ah, um…’Love Minus Zero.’

“He’d heard my version on the album! Then he sat down with me and we were all alone, no bodyguards, no one except my friend Alan Derby and myself sitting at a table with Bob. Alan is tongue tied and Dylan doesn’t talk. So after five minutes of me telling him how I liked his set and loved the songs, he just sort of grunted replies.”

The one sided conversation was running out of steam when the rain falling heavily on the roof of the tent suddenly stopped. Dylan stood up, took Steve by the hand and finally spoke. “He looked at me and said ‘The weather….the weather…’

Steve had tried to be as intellectually challenging as possible but all Bob wanted to talk about was the weather. Or maybe not. The world will never really know. But it was a brief encounter to be treasured.

As it happened Steve just missed meeting Van Morrison at the same festival. Even though he’d recorded a version of Van’s ‘Crazy Love’ on ‘Poetic Justice’ it was probably just as well they didn’t meet. Van might have been even less communicative on the subject of ‘covers’ than Bob.

STRANGER IN TOWN
Steve: “I love ‘Poetic Justice’ as an album but then I love ‘em all. I don’t make many albums nowadays and writing songs gets harder and harder. It took me three years to write my latest album ‘Stranger Comes To Town’ (2010). In terms of inspiration I pick up a lot from my travels and I do like travelling and having a ticket in my bag. I get on planes and just disappear for a while. If the weather is depressing in England I take my guitar and go off into the sun for a few days and do some recording and sit and write songs in the sunshine in a posh hotel with a swimming pool.”

In Spring 2010 Steve began his UK tour and says: “It was a huge thing for me and it still excites the hell out of me to perform ‘live’. On tour I call it ‘Steve Harley & Cockney Rebel’ because it lets the public and promoters know it’s a big rock band. I also tour quite a lot acoustically with a three piece outfit.”

Steve confesses the effects of his childhood polio still haunt him. “As you know, I’m never going to run the marathon. I can’t walk very far these days and have to go at my own pace. Joni Mitchell won’t fly anywhere and that’s because she too had polio. One of her legs was affected. She said ten years ago that there’s something called ‘secondary polio’ and that kind of depressed me.

As I’m getting older I don’t feel any worse but I can’t walk as well as I did ten years ago. It doesn’t stop me going on stage but when the weather is bad I just can’t walk in the snow and ice because I’m afraid of slipping. What I most enjoy is going on the road and performing with the band which has my old Cockney Rebel pal Stuart Elliott on drums. It’s just like the old days.”

As Spring gently gives way to Summer we turn our poetic musings to music – the food of love. Yea verily we have a feast of Repertoire CDs to entertain you over the coming months with a whole batch of cool releases. Among the highlights will be albums eagerly awaited by fans around the globe from top drawer artists Steve Harley, Snowy White and Alvin Lee.

Watch out too for marvellous CDs by a range of unique groups from Magna Carta, Warhorse and Rumplestiltskin to Tonton Macoute and Space. And how could we forget our favourite groups The Zombies and Curved Air? We haven’t forgotten – they’re coming your way soon!

So what do we have on offer to tempt your fancy? Well there’s a fantastic Curved Air Retrospective: ‘Anthology 1970-2009’. Packed with all the prog rock band’s best numbers plus some extra more recent material, the CD has been prepared in co-operation with the band’s star singing and composer Sonja Kristina.

Then there’s another look at The Zombies timeless album ‘Odessey & Oracle’ so recently revived by Rod Argent & Co. We also have the dynamic ‘Zoom’ a real treat from the archives of master guitarist Alvin Lee. But the hottest news concerns the release of a brand new album by iconic British singer/songwriter Steve Harley of Cockney Rebel fame. His critically acclaimed ‘Stranger Comes To Town’ is accompanied by ‘Poetic Justice’ one of Steve’s back catalogue classics.

But enough of this teasing. Let’s get down to business with details of the albums that are either available now or coming soon. Check out our Catalogue for latest info!

STEVE HARLEY Stranger Comes To Town
The legendary Steve Harley returns with his first new studio album in five years. The iconic singer/songwriter who first enjoyed hits in the Seventies with ‘Judy Teen’ and ‘Make Me Smile, Come Up And See Me’ has ten brand new songs on a CD that he describes as ‘a labour of love.’ ‘Stranger Comes To Town’ was recorded at a residential studio in East Anglia and features Harley backed by his regular touring band.

A founder member of Cockney Rebel, Steve started his career as a trainee newspaper reporter before becoming a singer. He was inspired by his favourite artists such as Bob Dylan and The Beatles as well as the poets and authors he read as a child. In recent years he has returned to ‘live’ performances with Cockney Rebel and his devoted fans are eagerly awaiting the new album. Among the highlights are such stand out songs as ‘Faith And Virtue’, ‘Take The Men And The Horses Away’, the poignantly titled ‘For Sale, Baby Shoes, Never Worn’ and ‘2,000 Years From Now.’

As one of the UK’s most respected composers, with a literary approach to lyric writing, Steve Harley brings lustre to pop music and is certainly no stranger to fame. Welcome back!

STEVE HARLEY Poetic Justice
Steve Harley has a voice that speaks to the people, and such empathy is an important part of his appeal and success as a major singer/songwriter. Since his earliest days with Cockney Rebel in the 1970s, Harley has enjoyed a solid career as a performer and retains a loyal and enthusiastic international following.

This solo album, first released in 1991, presents Steve in fine voice on a selection of original songs together with some intriguing ‘cover’ versions. ‘Poetic Justice’ was recorded at a country studio in Sussex with top drawer musicians including specialists in acoustic instruments Nick Pynn, Phil Beer and Richard Durrant whose work on violins, dulcimer and classical guitars add to the sensitive mood.

Among the high lights are Steve’s interpretations of ‘What Becomes Of The Broken Hearted,’ Bob Dylan’s ‘Love Minus Zero- No Limit’ and Van Morrison’s ‘Crazy Love.’ Here is a tasteful and elegant album that justice demands should be listened to by as many people as possible. Watch out for an exclusive new interview with Steve talking about his career and current plans.

CURVED AIR Retrospective: ‘Anthology 1970-2009’.
Beautiful lead singer Sonja Kristina and violin virtuoso Darryl Way were kingpins of a group that caused a sensation with its innovative music and a striking image in the sexy Seventies. Curved Air was a highly musical combo that deserved its Prog Rock status. However, they were also hailed as pop stars when the sultry ‘Back Street Luv’ was a Top 5 hit in 1971.

The song is among 28 tracks on a superb introduction to the life and times of Curved Air, a band that underwent lots of changes during its hectic career. Their experimental blend of classical themes, electronic sounds and pop/rock energy won them many fans that still remain loyal supporters. Most of the songs on this essential double CD are from such Seventies’ albums as ‘Air Conditioning’, ‘Air Cut,’ Love Child’ and ‘Airborne’ together with more recent works ‘Alive 1990’ and Sonja Kristina’s album ‘Mask – Heavy Petal.’

Curved Air showcased many top musicians during its career, notably Francis Monkman, Eddie Jobson and Stewart Copeland. They all make important contributions to the group’s sound. But watch out for the X-Factor – the crystal clear vocals of Sonja Kristina on such songs as ‘Young Mother’, ‘Melinda (More Or Less)’ and ‘The Dancer.’

WARHORSE Warhorse
Galloping into action with a thunder of heavy metal hooves, Warhorse was a sturdy steed of the Seventies. The band was formed by former Deep Purple bass guitarist Nick Simper and this powerful debut album was first released on the Vertigo label in 1970.

Warhorse began life as a backing band for singer Marsha Hunt but when Marsha came off the road, Simper reorganised the band with Ashley Holt (vocals), Ged Peck (guitar), Mac Poole (drums) and Frank Wilson (keyboards).

The ‘Warhorse’ album was released in November 1970 and the seven tracks display a hard rockin’ approach, favourably compared by some critics to the works of Iron Butterfly, Deep Purple and Uriah Heep. As well as such formidable items as ‘Vulture Blood’, ‘No Chance,’ ‘Burning’, ‘Ritual’, ‘Solitude’ and ‘Woman Of The Devil’ there is a single version of ‘St. Louis’ a song originally recorded by the Easybeats.

‘Warhorse’ was made at a time of youthful optimism. So listen once more – to the charge of the heavy brigade!

WARHORSE Red Sea
‘Red Sea’ was the second album by Warhorse, the band formed by former Deep Purple bass player Nick Simper. ‘Red Sea’ is truly a long lost classic. It features Pete Parks, formerly of Black August on lead guitar, having replaced Ged Peck. It originally came out in 1972 and proved to be their final release for Vertigo. The band underwent several personnel changes before finally breaking up.

Among the seven tracks is a stunning version of Shirley Bassey’s hit ‘I (Who Have Nothing)’ as well as the title song and such surging rockers as ‘Back In Time’ and ‘Feeling Better.’ We’ll all feel better for rediscovering this excellent, underrated band.

ALVIN LEE Zoom
Zoom into action with Alvin Lee, one of the world’s finest rock musicians. The guitarist, singer, song writer and band leader is showcased on this classic 1992 album that features guest appearances by such stars as former Beatle George Harrison, organist Jon Lord from Deep Purple and Bruce Springsteen’s sax player Clarence Clemons.

Recorded at Alvin’s own Space 2 Studios, the eleven diverse tracks include such rock’n’roll celebrations as ‘Jenny Jenny’ and the grandiose ‘Real Life Blues’ and ‘It Don’t Come Easy’. Harrison provides snatches of slide guitar while Clarence Clemons brings a taste of funky tenor sax to many of the more rockin’ cuts.

Alvin Lee offers a track by track commentary as part of an exclusive new interview for the CD liner notes, where he tells the story behind the creation of his first digitally recorded solo album. It still sounds fresh and exciting today and is a great addition to the roster of Alvin Lee albums available on Repertoire.

ALVIN LEE Keep On Rocking
A superb collection of hot performances by the master blues-rock guitarist is unleashed on an album that first surfaced in 1994 and has previously been known by various different titles. It was released as ‘Nineteen Ninety Four’ in Europe and as `I Hear Your Rockin` in the USA and is otherwise known as `Keep On Rocking` – which is sure does!

The band was one of Alvin’s best and comprises Tim Hinkley (piano), Steve Grant (keyboards), Steve Gould (bass) and Alan Young (drums) backing Alvin, who sings and plays his Gibson with all his old fury. Alvin’s old pal George Harrison makes a guest appearance on ‘The Bluest Blues’ and the vocalists include Joe and Sam Brown.

Here is a 12 track set of stomping originals and covers that provide a celebration of down home blues and rock’n’roll. Alvin talks to Repertoire’s Chris Welch about his kind of music in a new interview for the CD liner notes.

SNOWY WHITE White Flames
‘White Flames’ was guitarist and singer Snowy White’s solo debut, released in 1984 during the aftermath of his departure from Thin Lizzy. A craftsman like musician, Snowy yearned to play more in his own melodic and thoughtful style, away from the roar of a raucous rock group. The result was not just a splendid album but a hit single as well.

‘Bird Of Paradise’ soared into the UK Top Ten in 1984 and is one of nine tracks on this superb CD that retain their power to entrance and delight. Watch out for such songs as ‘Open Carefully’, ‘Lucky Star’ and ‘It’s No Secret’ as well as the additional `live` track `For The Rest Of My Life.`

The CD liner notes included a brand new exclusive interview with Snowy, who talks about the songs, the influence of the blues, his personal philosophy and life experiences. This was the launch pad for a long creative career that sees Snowy still touring with his own band and playing with Roger Water’s on the Pink Floyd man’s sensational show ‘The Wall’ In 2010.

SNOWY WHITE Highway To The Sun
Snowy White’s old pal Dave Gilmour makes a guest appearance on this 1994 classic by a lead guitarist who has played with some of the biggest names in rock. Snowy worked alongside Gary Moore in Thin Lizzy in the Eighties and later played with Pink Floyd before launching his solo career with the ‘White Flames’ album.

‘High Way To The Sun’ is packed sultry blues performances from Terence Charles White, the young man who first came to London from the Isle Of Wight in the Sixties, mesmerised by Eric Clapton and Peter Green. He tells his story and talks about the dozen tracks on this excellent album a new interview with Chris Welch for the extensive CD liner notes. Watch out for poignant numbers like ‘Can’t Find Love’, ‘Burning Love’ and ‘Heartful Of Love.’ While Dave Gilmour is outstanding on ‘Love, Pain And Sorrow.’

MAGNA CARTA Magna Carta
Magna Carta remains one of Europe’s most popular acoustic music groups, despite having announced its retirement a year ago. The group was founded by singer, guitarist and composer Chris Simpson way back in 1969 when this debut album was first released on the Vertigo label.

Variously known as ‘Magna Carta’, ‘This Is Magna Carta’ and ‘Times Of Change’ whatever the title, it remains a splendid piece of work with some beautiful compositions by Mr. Simpson. He was joined in the original outfit by Lyell Tranter (guitar, vocals) and Glen Stuart (vocals) and they are heard specialising in sensitive vocal harmonies as well as gentle guitar rhythms.

Among the dozen tracks are such popular items as ‘Romeo Jack’ and in the new CD liner notes Simpson explains: “‘Romeo Jack’ is all about a rake – who was me!’
‘Times Of Change’ and ‘Old John Parker’ are other highlights. Magna Carta made many albums over the decades but this is where it all began.

THE ZOMBIES Odessey & Oracle
One of the most extraordinary sagas in the annals of recording is the fate of The Zombies’ ‘Odessey & Oracle’. Once ignored and dismissed it is now hailed as one of the finest albums of all time.

The poignant music on this superb collection of songs first produced in 1967 has been lauded by many of pop’s biggest name artists, including Paul Weller, who once called it his favourite album. When The Zombies got back together many years after their pioneering days, one of their priorities was to revive ‘Odessey & Oracle’ and perform it ‘live’ for the first time.

The story of The Zombies and ‘Odessey & Oracle’ and it’s hit song ‘Time Of The Season’ is told by songwriter, keyboard virtuoso and founder member Rod Argent in the CD liner notes. Says Rod: ‘Odessey was a one-off and very much of its time. When I heard the re-mastered version it was like pulling back a curtain. And it sounds so natural and fresh/ That’s why it has such lasting appeal.”

This new edition released by Repertoire in both stereo and mono editions will please insatiable collectors around the world. With the Zombies touring the UK and US during the summer of 2010 interest in the band and its wonderful music has never been higher.

RUMPLESTILTSKIN: Black Magician
A second album from the studio band put together by producer Shel Talmy and featuring the cream of UK session musicians including the veteran rock drummer Clem Cattini. Also appearing performing are Alan Parisher (guitar), Herbie Flowers (bass) and Peter Lee Sterling (vocals) with Alan Hawkshaw (keyboards). They romp through ten powerful numbers including the opening track ‘Lord Of The Heaven And The Earth’ and with such tunes as ‘Evil Woman’ and ‘Black Magician’s Daughter’ you get the feeling they are cheerfully delving in the dark side of rock’n’roll.

TONTON MACOUTE Tonton Macoute
Sparkling performances from this uniquely British prog rock group. Although the music never quite settles on one style, nevertheless it maintains a good humoured, joyous and inventive mood throughout seven diverse and captivating tracks.

The band borrowed their name from the Haitian dictator Papa Doc’s presidential guard, no doubt attracted by its cool and mysterious sound. The line up includes singer Paul French backed by Dave Knowles (sax and flutes), Chris Gavin (guitars and bass) and Nigel Reveler (drums). ‘Tonton Macoute’ was the band’s only album and one of the first released on RCA’s Neon label in 1971.

Among the highlights are ‘Just Like A Stone’ that has some rocking piano and backbeat drums, ‘Don’t Make Me Cry’ a real jazz fusion odyssey, and the spooky ‘Dreams’ is laden with vibraphone textures. ‘Natural High Parts 1 & 2’ explores classical, rock and blues themes in a style that epitomises the band’s musical sophistication. A real treat, recommended to all Prog fans.

SPACE Magic Fly
Get up and dance! Here is the magical sound of French synthesized disco that enlivened the pop scene in the Seventies. The international appeal of the group led by Didier Marouani resulted in a spate of instrumental hits, including the eerie and appealing ‘Magic Fly’.
This lively tune lured trendy disco dancers onto the floor back in 1977 and is included on this seven track CD alongside ‘Carry On, Turn Me On’, another groovy hit with a solid heart thumping beat. Staccato keyboards and driving bass epitomised the sound of the group that signed to Casablanca Records and yielded a rich harvest of gold records.
‘Magic Fly’ is considered by critics to be the ultimate album by the Space team that included Roland Romanelli and Janick Top. This selection features ‘Ballad For Space Lovers, ‘ Tango In Space’, ‘Flying Nightmare’ and ‘Velvet Rope’ and you can hear why Space went on to sell 12 millions albums. An exclusive new interview with Didier Marouani in the extensive CD liner notes explains how he pioneered the future of modern pop.

HOW MOUNTAIN CLIMBED TO THE TOP

Leslie West in action always makes exciting viewing, as our latest YouTube clip shows. One of rock’s greatest guitarists and singer/songwriters, Mr. West has long been hailed as a performing legend and his albums with Mountain and West Bruce & Laing are among the hottest in the Repertoire catalogue.

When Leslie first put Mountain together in New York in the summer of 1969 WHEN heavy rock was booming thanks to the success of such groups as Led Zeppelin and predecessors Cream. West had already released a solo album called `Mountain1 and now came the promising new group with himself on guitar and vocals backed by Felix Pappalardi (bass guitar), Norman Smart (drums) and Steve Knight (organ). The group was strongly influenced by Cream, not surprisingly as Pappalardi had produced the British group’s hit albums `Disraeli Gears’ and `Wheels Of Fire’.

HEAVY ROCK

Leslie Weinstein was born in Forest Hills, New York (October 22, 1945). He came from a showbusiness family and one of his earliest childhood memories was being taken to see Elvis Presley perform in a TV studio. It was a life changing moment that inspired him to take up the guitar and learn to sing. Following the divorce of his parents, Leslie changed his surname to West and concentrated on music rather than his high school studies. He grew up in Manhattan where he joined teenage rock band The Vagrants in 1966.

Felix Pappalardi produced The Vagrants and they released a version of the Otis Redding hit `Respect` in 1967. Felix produced several of their singles for Atco without much success. A classically trained musician, Pappalardi first encountered Cream when he was asked to produce their 1967 `Disraeli Gears` album at Atlantic studios in Manhattan. When his Leslie West left The Vagrants, Felix offered to produce his debut solo album `Mountain`. Encouraged by the success of the album, the guitarist and producer decided to form a band together that became Mountain.

The new group made its debut at the Fillmore West in San Francisco in July 1969 and went down a storm. West played in a similar style to Clapton but the band quickly developed its own sound, more focussed than Cream. Their fourth gig was at the Woodstock Festival, sharing the bill with Jimi Hendrix among many others.

CORKY JOINS

Shortly after the festival, Leslie’s oldest friend Corky Laing (born Montreal, Canada January 26, 1948), who had been working as Mountain’s roadie, replaced Norman Smart as the band’s drummer. Corky played a double bass drum kit and his powerful attack combined with Leslie’s unique guitar sound ensured Mountain was more than a match for the influx of British heavy rockers.

The group then released ‘Mountain Climbing’ in March 1970, which yielded the band’s biggest hit single `Mississippi Queen`. `Mountain Climbing` is currently available on Repertoire CD REPUK 1094. On initial release it shot to Number 21 in the U.S. Billboard chart in June 1970. The album rose to Number 17 and was certified ‘gold’. ‘ `Mountain Climbing’ remains one of the band’s most popular albums with a range of varied performances including a version of `Theme For An Imaginary Western` the classic song composed by Jack Bruce with lyrics by Pete Brown.

After the success of `Climbing` and their hit single, Mountain was in great demand and they found themselves playing ‘live’ to thousands at the Atlanta Pop Festival. The group made two more albums in quick succession ‘Nantucket Sleighride’ (1971) (available on Repertoire CD RES 2311) which also went ‘gold’ and ‘Flowers Of Evil’ (1971).

MOUNTAIN SPLIT

Mountain broke up in 1972 and one of the reasons given was that Pappalardi’s hearing had been damaged by the group’s excessive volume. Felix returned to production, while West and Laing briefly teamed up with Jack Bruce under the name West, Bruce & Laing and recorded `Why Dontcha` (Repertoire CD 1093)

In 1973 Mountain reformed with Leslie and Felix backed by Bob Mann (guitar, keyboards) and Alan Schwartzberg (drums). In subsequent years Leslie West and Corky Laing occasionally revived the old group for ‘live’ shows, sometimes joined by Felix Pappalardi. This line up recorded a new studio album ‘Avalanche’ in 1974. A ‘live’ album ‘Twin Peaks’ recorded in Japan in 1973 was also released in 1974 (available on Repertoire RES 2331). West then concentrated on his personal career and recorded two solo albums ‘The Great Fatsby’ and ‘The Leslie West Band’ released in 1975

Sadly Felix Pappalardi was shot and killed by his wife and lyricist Gail Collins after an argument in 1983. Two years later, West and Laing regrouped with Mark Clarke (ex-Rainbow and Uriah Heep) on bass and recorded an album ‘Go For Your Life’ (1985). They toured Europe supporting Deep Purple in 1985. Corky Laing later became PolyGram’s A&R man in Canada.

Since the glory days Leslie West has worked as a guitar teacher and designer in between touring with bands. In 1996, he reunited with Clarke for a new Mountain album titled `Man’s World` then West and Laing teamed up for `Mystic Fire` (2002).
Leslie remains a busy man and continues to tour extensively. He still has many more mountains to conquer!

TONY ASHTON: ROCK’S HAPPIEST FELLA

Who’s that sitting on the top deck of a bus singing his heart out on ‘The Ballad Of The Remo Four?’ Why it’s Tony Ashton, one of the happiest, jolliest and most talented of all great rock musicians. This engaging YouTube clip from the archives shows Tony with his most successful band, Ashton, Gardner & Dyke during their heyday in the Seventies. But they are singing about a group that set them on the road to fame, back in the Beatles era, when The Remo Four were young and full of ambition.

An aura of nostalgia pervades the song and its promotional video. But there was much more to come in the career of Tony Ashton, singer, organist, composer and one of the best loved performers of the British music scene.

ASHTON’S LEGACY

Repertoire has been proud to present many of Tony’s finest albums over the years and our catalogue presently includes such items as ‘Ashton, Gardner & Dyke’ (REP 4565), ‘The Best Of Ashton, Gardner & Dyke’ (REP 5141) and of course ‘The Worst Of Ashton, Gardner & Dyke’ (REP 4458). The worst? Not really. As a gifted organist and singer he was also an adept producer and his music expressed his own conviviality, sense of humour and flair for showmanship. Later in life he developed a reputation as an artist whose paintings, prints and drawings reflected his own quirky outlook and wild imagination.

When his band enjoyed a smash hit with ‘Resurrection Shuffle’ it seemed his career would go into overdrive. But it wasn’t always an easy road to success. Even so Ashton enjoyed many roles as a session man, producer and was highly regarded by his fellow musicians.

EARLY YEARS

He was born Edward Anthony Ashton, (March 1, 1946) in Blackburn, Lancashire but spent his childhood years in Blackpool. His parents owned an upright piano and he was sent to piano lessons and quickly mastered the instrument. “I learnt my own style and was happy with that,” he said later. He left school aged 15 and a half and began playing with his own trio. His musical tastes veered towards soul, jazz and the blues but the pop scene beckoned.

He was spotted by singer Jimmy Justice who had three top twenty hits in 1962 including a cover of ‘Spanish Harlem’. He saw Tony playing in a local club and was most impressed. Said Tony: “Jimmy came along one day and asked me if I’d like to join his backing band. He put me on a retainer and I became a professional musician, with short hair and a mohair suit. It was just before the Beatles came on the scene. When my mate Roy Carr (later with the NME) told me about the Beatles I fell in love with their music right away.”

Ashton went on tour with Jimmy to Sweden and on return to England played with a variety of groups. “Then I got a telegram from Brian Epstein, manager of The Beatles. It said ‘Report immediately to NEMS Enterprises…’ for one minute I thought The Beatles wanted a piano player! But the gig was with the Remo Four and we ended up backing singers like Tommy Quickly and Cilla Black, which wasn’t what I really wanted.”

THE REMO FOUR

The Remo Four had started out at the Cavern Club in Liverpool, playing country music. It was originally called Johnny Sandon And the Remo Four. When Sandon left the group decided to recruit a keyboard player and the line up included Ashton (piano), Phil Rogers (bass), Colin Manley (vocals, guitar) and Roy Dyke (drums).

The Remo Four was sent to the Star Club in Hamburg to take over from The Beatles, which was as close as Tony got to join the Fab Four. “We were a completely different band. More jazz based” recalled Tony later. While they were in Hamburg they were approached by Polydor Records and they recorded their first album ‘Smile’ (1966) in just two days with Tony using the studio’s Hammond organ.

The Remo Four were such a hit in Hamburg they stayed there for two years appearing on TV and at clubs. On returning to the UK they were set to working backing Billy J.Kramer in cabaret. Rebelling against the pop tunes they had to play, Ashton and drummer Roy Dyke contrived to get the sack and set about forming their own group. Before the Remo Four split however, they backed George Harrison on his solo album ‘Wonderwall’.

RESURRECTION SHUFFLE

Tony and Roy went on to team up with bassist Kim Gardner to form Ashton, Gardner & Dyke. They enjoyed a huge hit single with the lively ‘Resurrection Shuffle’ powered by a brass section on a riff that Tony came up with in the studio. The song was so infectious it was also covered by Tom Jones. Ashton’s record got to Number Three in the UK charts in 1971. The band recorded its debut album and a brace of singles before splitting up in 1974. In the aftermath Roy Dyke moved to Hamburg where he played with such groups as B-Sharp and Bauer, Garn & Dyke. Kim Gardner moved to Los Angeles, California where he became a session musician and opened the Cat & Fiddle club. (Kim Gardner died on October 24, 2001).

Tony got involved in production working with such bands as Medicine Head, Ian Dury, Chas’n’Dave and Kenny Ball. He also worked on albums by George Harrison, Eric Clapton, Paul McCartney and Jerry Lee Lewis.

He then teamed up with Deep Purple’s Jon Lord and the two keyboard wizards made an album called ‘The First Of The Big Bands’ and this encouraged them to do more work together. The result was PAL (Paice Ashton and Lord) formed in 1977 with Ian Paice from Deep Purple on drums. They released their only album ‘Malice In Wonderland’ and did a UK tour that included a memorable performance at London’s Rainbow Theatre where Tony accidentally fell off the stage.

During the Eighties Tony began to develop his second career as an artist, specialising in idiosyncratic drawings and more elaborate paintings, many of which were bought by TV presenter and DJ Chris Evans, who opened the Notting Hill gallery Well Hung to showcase Tony’s work.

Ashton also co-hosted a TV show with Rick Wakeman called `Gas Tank` featuring guests such as Phil Lynott and Ian Paice who sat in with Ashton and Wakeman’s on screen band. With a TV career blossoming his personal life was also brightened when in 1986 Tony married Sandra Naidoo and adopted her daughter Indira. Encouraged by Sandra, Ashton held a series of exhibitions and continued to tour with his own jazz group and with drummer Pete York’s Endangered Species band.

FAREWELL TONY

However by the 1990s life became tougher. When Tony became ill in 1999 a special benefit concert was recorded and filmed at Abbey Road Studios, featuring Tony’s oldest friends and colleagues including Jon Lord, Ian Paice, Mick Moody, Bernie Marsden, Howie Casey, Chris Barber, John Entwistle, Zak Starkey, Pete York and Zoot Money.

Tony passed away at his London home on May 28, 2001 aged 55. His battle with cancer ended when he refused anymore treatment. He left a final poignant message that read:
Dear everyone,
Thanks for all the messages and enquiries -
recent tests show the cancer has spread
and I’ve decided to refuse further treatment and come home.
So – thanks to all, have a drink for me – cheers and bollox…
- Tony Ashton.

ORGANIC ART

Sandra Ashton now runs an on line gallery that displays just some of Tony’s artwork, reproduced in a series of fine prints and available for sale. They included his amusing series of car themed pictures such ‘Knee Type Jaguar’, ‘Strange Rover’, ‘Ford Angular’ and ‘Hatch Back Of Notre Damn’ not to mention his self portrait ‘Organic Music’ and of course ‘The Resurrection Shuffle.’

Check them out at http://www.tonyashtonart.com/