chapter 4 working for a living [sep 72 sep -...

© 2010, Graham Lockyer. All Rights Reserved. MUSICAL BIOGRAPHY Page 31

Chapter 4

Working for a Living

[Sep ’72 – Sep ‘75]


Chapter 4 - Working for a living – National Westminster [Sep '72 - Oct '72]

Oh, how those heady, carefree days at Itchen College quickly vanished. Now was the time for serious job hunting, and fortunately, low unemployment in the UK was the order of the day. Pete May and I both secured full time careers in Banking. The ‘National Westminster’, Hedge End (27 Sep), for me. and the ‘Midland’, London Road, City Centre, for Pete. Graham, aged 18 (Sep ’72) Pete May, aged 18 (Sep ’72)

Barry decided to take a few months out to collect his thoughts on his future career direction. He wanted to take his language skills further, and after 3 months he took up a Latin American degree course at Portsmouth Polytechnic, which would allow him to spend a year out in Mexico! Pete Crawford struggled to find his true vocation during those last few months at Itchen, and he took up a place studying ‘Catering’, coincidentally, also at Portsmouth, but at the College of Technology. I don’t recall where Denis started working, but he kept closely in touch with Barry during Barry’s 3 month hiatus and 1

st year at Portsmouth. Barry, Denis and Peggy Hall, now in her Upper 6

th year at Itchen,

continued performing in the local pubs as ‘Litany’. Finally, our pals, Tom Woolcock, Dave Westerman, Nigel Clemons, Aidan Jarvis and Hazel Edmondson, along with Anne West and Amanda Brown, all moved into the Upper 6

th at Itchen College. As I had now

left, my time with Anne was limited to the evenings and weekends. Life was now so different from those wild College days, but it didn’t take too long before Pete and I met to, compare notes, on our full time career progress - and to debate the current music scene. A new local music venue, (The Coach House, at the rear of the Fleming Arms, Swaythling), had recently opened (26

th May ’72). It quickly built a fine reputation with a succession of good ‘up and

coming’ bands. By the September, Pete and I were ‘regulars’. We also frequented another pub rock venue, The Dolphin Hotel, Botley, but it wasn’t in the same league, although I recall a fine night there watching ‘Megaton Flea’ (30

th Sep ‘72).

TV and chart music had also moved on. Roxy Music introduced themselves to the world with glamour and the sounds of ‘Virginia Plain’ (Sep). Slade were about to become known as a major force in the singles charts, ‘Mama Weer All Crazee Now’ (Sep). On the album front, YES released 'Close to the Edge'. (Sep '72)

[Of academic note: by October '72, I'd regained a little self confidence and decided to re-sit the Economics that I'd so miserably failed, along with my other 'A Levels', during that summer of '72. This meant me giving up one evening per week to attend classes at the Southampton City Technical College. That seemed hard at the time, but I thought that getting back to studying would stand me well

for the future. I subsequently passed the exam, but remember thinking - so what?]

© 2010, Graham Lockyer. All Rights Reserved. MUSICAL BIOGRAPHY 3

Chapter 4 - Working for a living – National Westminster [Cont.] [Nov ’72 - Dec '72]

With the luxury of a regular salary, the urge to spend proved strong for Pete and I. We already had our two ‘tiny’ combo amps, which had admirably supported our ‘pickup electrified’ classical guitars, but now was the time to search out more colour. By November ’72, we had both made new guitar purchases. Pete opted for a steel strung ’EKO 6-String’ acoustic. I bought a red, second hand ‘Watkins Rapier 22’, from a friend of Eric Woolnough. (Steve Rennie, Thornhill if my memory serves me well?)

Pete’s EKO 6-String (Nov '72) My Watkins Rapier 22 (Nov '72)

Along with these two new purchases, both Pete and I were also getting 'into' recording using small portable cassette machines. Pete was well pleased with the quality from his Hitachi cassette player - his recent birthday gift (Jul '72). In fact, cassettes became our standard recording media for some time thereafter. I had already purchased Van Morrison’s, ‘St. Dominic’s Preview’ (Aug ’72), on cassette, rather than on vinyl, having bought Pete’s old Waltham cassette player from him, in the July ‘72. LOST THE HIKER [Nov ‘72] (Lockyer / May) This was recorded onto the Waltham cassette recorder, which was of a poorer quality than the Hitachi. It was also unfinished - but is referenced here because it marks the early beginnings of a track that was to become one of our favourites, namely "Sometimes You Wonder". That particular song took another few

years before it was to properly surface. The 'Hiker' is a simple reference to those many evenings spent walking, and subsequently trying to hitch, to see those bands at the 'Coach House' and the 'Dolphin Hotel'. ..... Back to the music scene, and on to the bigger stage. Curved Air returned to Southampton Guildhall (Nov 20), with Wishbone Ash closely following (27 Nov). On the small screen, the new OGWT host, Bob Harris, introduced the world to Bill Withers (21

st Nov ‘72) and an incredible performance by Focus,

with ‘Sylvia / Hocus Pocus’ (12th Dec ’72). I remember Pete being particularly taken with a black

‘Gibson Les Paul’, played by Jan Akkerman.

By the end of December '72, it was clear to me that those Itchen days had long gone. My time was now split between seeing Anne, on a few evenings each week, and spending the rest of my time at Pete’s house, practising guitar. I saw Barry on just a few social occasions after Sep ‘72, often as not down at the West End Brewery. Any news of Pete Crawford came from brief conversations with Barry. Although Barry and Pete Crawford were both at Portsmouth, they were moving in different social circles. The ‘old’ band never played together again. Pete May and I had now become a solid duo, moving forward. Any new band would be ‘our’ band, and we’d be the leaders. I settled down to watch the old year out, via the ‘OGWT Year Reprise’, and felt good about the prospects for ’73. What a change from a few months earlier!


Chapter 4 - Working for a living – National Westminster [Cont.] [Jan '73 - Mar '73]

With new guitars in hand, Pete and I were ready to record. This time quality dictated it was to be on Pete’s Hitachi cassette recorder. This small selection was the output of January ’73. There were no ‘real’ compositions here. It’s Pete and I improvising and having some fun. (018) ACOUSTIC JAM (0) [Jan ‘73] (Lockyer / May) Nothing to write home about. Simple riffs - bouncing ideas off each other. For academic purposes, I'm the one attempting to play lead guitar with my classical guitar/nylon strings. I've combined two recordings here. The latter part has me playing my 'new' Watkins electric guitar. (019) ELECTRIC JAM (0) [Jan ‘73] (Lockyer / May) This is just a continuation of the previous track. More 'improvisation' from me and Pete. (020) TELEPHONE LINE JAM (0) [Jan ‘73] (Lockyer / May) Pete on lead vocals - making up the lyrics as he went along. There are plenty of 'duff' notes in there. (Just thought I'd mention that in case you hadn't spotted them!) ..... Back on the professional scene - ’73 ‘kicked off’ with some fine live music. The line up at ‘The Coach House’ was very entertaining, and included: Andy Fraser / Chris Spedding (Sharks) (16

th Jan ‘73),

Aubrey Small (20th Feb), Hackensack (6

th Mar), Agnes Strange (20

th Mar), and Iguana, minus Jess

Roden at this stage (27th Mar). The Southampton Guildhall welcomed Rory Gallagher (8

th Feb). To

complete the ‘pro’ music round-up, Led Zeppelin released 'Houses of the Holy' (Mar '73) and Argent were riding high in the charts (Mar '73), with ‘God Gave Rock ‘n’ Roll’. This was one of Pete’s favourite tracks. On the TV screen, I particularly remember John Martyn’s OGWT appearance (13

th Mar ’73), performing

‘May You Never’. Wow, that style of guitar picking was where my head was ‘at’, and I couldn't wait to broaden my technique thereafter.


Chapter 4 - Working for a living – National Westminster [Cont.] [Apr '73]

Guitar practice, at this stage, became pretty serious - three evenings per week minimum, working on technique and learning new chords, always at Pete's home, in Beauworth Avenue. Whilst Pete spent most of his time playing his new EKO 6 String, I began to use his brother’s 12 string equivalent, an ‘EKO Ranger 12 String’. That guitar quickly became a real favourite of mine. Pete's

brother, Bob May, found less and less time, and need, to play the 12-String, much to my obvious pleasure. I played it so much, it felt like mine! I was so delighted when Bob accepted £20 for it. (Apr ’73) EKO Ranger 12-String (Apr ’73) Bob May (c. 1985)

Anecdote Time: Don't rush to the end of the book just yet - but you will find that during 2004 I decide, for various reasons, to leave the UK and settle in France. In an attempt to cut down on carrying too much baggage I needed to sell some of my guitars. My collection by this time had grown to approximately 9 or 10 guitars! The EKO 12-String was a problem, because whilst I couldn't bear to lose it, I really needed to let it go as I rarely used it at that stage. Before I left for France, I met up with Bob, during a visit to see Pete May. I talked through my problem of how to dispose of the 12-String. I attempted to 'give' it back to Bob, because he loved it too, and I knew he had always regretted letting it go. He adamantly refused to accept it - but finally we reached a solution. I accepted his offer of the original £20 to buy it back from me. That way we both felt true business had been closed! Bob also agreed to let me use it, free of charge, for any future recording session needs. A fine conclusion, with it still in safe hands. Back to March '73, and I completed my spending with the small outlay of a solid case, and a very modern ‘De Armond’ acoustic pickup, from Jim Beckett’s Music Shop, Southampton. I chose the De Armond

pickup after seeing John Martyn use the same on his March '73 OGWT performance. My compositions had begun to dry up at this stage as my mind was locked on to Anne. However, Beauworth Avenue was still the scene of studying songbook tablature and improvising. I recall many evenings spent learning the finger picking to Led Zeppelin’s ‘Babe, I’m Gonna Leave You’. We recorded so many of those evenings onto the Hitachi, just to hear our progress. The following evening we would wipe over the cassette and start again. It's a pity we no longer have those recordings. Back to the books, and new chords were filling our heads at a rapid rate. However, the guitar playing of YES’ Steve Howe still eluded us. We weren’t good enough to manage ‘The Clap’ or ‘Mood for a Day’.

New guitar heroes were the order of the day and Pete came up with the name of Leo Kottke. Though unknown to me, I was quickly impressed when Pete played me his '69 album, ‘6 & 12 String Guitar’. Pete loved the track ‘Sailor’s Grave on the Prairie’. I loved his interpretation of Bach’s ‘Jesu, Joy of Man’s Desiring’. It was to take me a further 12 months before I could make a passable imitation of that track.


Chapter 4 - Working for a living – National Westminster [Cont.] [Apr '73 - May '73]

What of our social scene at the time I hear you ask? As already mentioned, when not at Beauworth Avenue, I spent as much time as was possible with Anne West. On a few rare occasions we would both meet up with Pete for a night out. I recall Anne and I meeting up with Pete at the 'Coach House', to see the French group 'Ange'. (17th Apr '73) Now there was a group - but that's another story! That Easter saw me spend the long weekend at the Isle of Wight with Anne, whilst Pete, Barry Woolnough and Dave Westerman met up with Sarah Bond, Pete's pal, at Sturminster Newton. Not long thereafter, Pete was to date another girl, Hilary Farrance, a friend from Itchen College. Pete tells me his first date with her was the ‘Monty Python’ live show at Southampton Gaumont (27

th Apr, ‘73). […. and

why not?] On other evenings, whilst I spent time with Anne, Pete was at the West End Brewery, with two new pals - Alan & Kevin Wells. They were well into music and played in a local ‘covers’ band. Kevin

was on guitar, with Alan on drums, although harmony singing was their forte. They were also into song-writing, and Pete started collaborating with them on new compositions, whilst I spent time with Anne. On the ‘singles and album’ chart front, 10CC were riding high with their track ‘Rubber Bullets’, whilst Paul McCartney released ‘Red Rose Speedway’ (both May ‘73). Pete was so taken with the McCartney track, ‘Little Lamb Dragonfly’, that we were to ‘cover’ it, once we had learnt all of the chords; some 18

months later. Anecdote Time: May also marked the date of a fine social gathering (May ’73). It was Hazel Edmondson's 18

th birthday ‘bash’. Hazel was, as were the rest of our old gang, hitting the final months

at College, and this superb party was a timely distraction from the agonies of their exam revision. Hazel says she has a ‘good’ photo of me and Pete on that evening. She says she’ll send it to me... and I’m still waiting. Now for a new name to add to my list of guitar heroes - Ralph McTell. He was already known for his hit single, ‘Streets of London’, but it was his OGWT (5

th Dec ’72) performance that had really impressed me.

I went to see him at the Southampton Guildhall (11th May ‘73). His excellent guitar skills prompted me to

buy his new album ‘Not Till Tomorrow’. I set about learning the tracks ‘If I Were A Cowboy’ and ‘First Song’. Immediately, a new challenge arose. How do you finger pick and sing at the same time? Damn! Yet more practice was needed. I found more Ralph McTell guitar playing on 2 Transatlantic Records’ ‘Contemporary Guitar Sampler’

albums, Vol. 1&2, released ’69 & ‘70. Of greater interest though, I marvelled at others from those 2 albums, including; Gordon Giltrap, John Fahey, and Stefan Grossman, along with the group ‘Pentangle’, which itself included two ‘giants’ of the acoustic guitar, Bert Jansch and John Renbourn. Wow! I followed the trail and purchased the John Renbourn album (May '73), ‘Another Monday’ (released

’67) along with a John Renbourn Songbook from ‘Minns Music’, Southampton. Now was the time to study reading sheet music properly, because I needed to learn this ‘stuff’. This style of playing was in a different league to anything I’d heard before, and would take me a further year of practice before I could get close to it. Cont. Gtr Sampler Vol I ('69/'70) John Renbourn Guitar ('72) Leo Kottke ('69) bought Apr '73


Chapter 4 - Working for a living – National Westminster [Cont.] [Jun '73 - Jul '73]

Looking back, it appears the first nine months of ‘working for a living’ had passed quickly, and without incident. From a musical perspective, Pete May and I felt we’d shed the ‘Folk’ music tag, and moved to a ‘Contemporary Acoustic/Electric’ field. Our guitar skills were blossoming due to the ferocity of our many practice sessions. We were also building a huge library of guitar styles and new influences. Yet in my world at work, life was very different. The reality was that time seemed to be moving very slowly. I do believe that the ‘hunger pangs’ for my old college had gone, and I’d moved on. My problem was a question of direction. I wasn’t too sure about staying in ‘Banking’ for the rest of my life, but for then, it wasn’t so bad, and the prospects of promotion held my interest. In fact, I was content enough to consider a career in ‘Banking’ … in France! I had always been a keen student of all things French, and I’d gone as far as acquiring my first 10-year passport (Apr ’73), as well as writing to a few banks, in France, for job opportunities. I actually received an offer for interview with the Credit Lyonnais, Lyon (7

th Jun ’73). Unfortunately, I lost

my nerve at the thought of leaving the country at such a tender age, and declined the offer! Meanwhile - news of the rest of the ‘band’ - Pete Crawford had become disillusioned with his catering course at Portsmouth Polytechnic and had returned to Southampton in the early months of ’73. Sadly, I’ve never been able to trace him since, though I have tried on numerous occasions! Hopefully, one day we’ll get the chance to laugh together about the ‘old times’. Barry was doing well in his 1

st Year at Portsmouth Polytechnic, with his thoughts now turned to his 2

nd

year out, to be spent in Mexico! He passed his driving test in Jun ’73, and this extra mobility enabled him to join Pete and I, on a few occasions, at the West End Brewery. Denis – whilst not in the ‘band’ [but soon to become our lead singer], was changing jobs and began at Peter Dominic’s Wine Merchants, Southampton (Jun ’73). But what of our pals who were still at Itchen College, and were now coming to the end of their studies? It was time to start out on their new full time lives, mostly at various Teacher Training Colleges, across the country. Tom Woolcock was off to Charlotte Mason, Lake District. Nigel Clemons to Hockerill College, Bishop's Stortford. Dave Westerman to St Paul's Teacher Training, Bristol. Aidan Jarvis to Brentwood College, East London. Hazel Edmondson went to Worcester College. Pete’s girlfriend, Hilary Farrance, moved to the East Coast with her family, and finally, Anne West started out for St Martin's College of Education, Lancaster. Phew! …. ever had that feeling you’re the only one left to tidy up after the party? Back in Southampton, the long hot summer continued and we found great amusement spending weekends out and taking Sunday evening trips to the Queen's Head Pub at Burley. (The New Forest) The resident band were the Blue Banana Band - and damn fine they were too. They gave us a healthy injection of various 'West Coast' songs whilst we attempted to learn the words to endless covers of The Beach Boys. The price for failure to keep on your feet amidst the packed house was, as I recall, a pint or two of best ale thrown over you - accidentally of course. Unknown?, Me, Dave Westerman Pete & Tom Woolcock - (Bembridge) Tom & Pete


Chapter 4 - Working for a living – National Westminster [Cont.] [Aug '73]

So what of the songs during this period? LOST NOTHING REMAINED [Aug '73] (Lockyer) This song was important to me for various reasons. Perhaps the main reason was that it marked my first 'solo' composition. I wrote this a week or so after Anne West's 18th Birthday 'do' (Jul '73) I also made a 'solo' recording onto the Waltham cassette ..... only to subsequently lose it! I finally made a fresh recording with Pete May and some friends in Apr '74. NOT RECORDED HERITAGE [Aug '73] (May) And now for a 'solo' composition from Pete. He tells me this was loosely based upon the Beatles track "Across The Universe" .... but only loosely! It is in fact a very fine song, and we were to make some strong recordings of this track over the following year. NOT RECORDED THE POET [Aug '73] (Lockyer / May) During that summer of '73, Pete and I were relaxing outside in the sunshine, strumming our guitars. The actual location was "Hatch Grange", West End, Southampton. We had already produced a set of lyrics, only to find we had two great opening lines. The question was therefore, "which line do we use?" The solution, in fact, was to write two complete songs, so as not to lose either of the two lines. The second song was titled "Ash Ridge" (the name of a nearby house). The rest of the afternoon involved coming up with lush chords in the search for some strong melodies. Of interest here was the fact that this was possibly the first time we had attempted to write the lyrics before the melody. This was 'new ground' for us. The song itself, though finished, was not actually recorded until many years later. I'm not sure why there was this delay, as the song itself really deserved a recording! LOST BREAKING MY BACK (aka Time For A Change) [Aug '73] (Lockyer / May) This song marked a slightly different approach from me and Pete. From here-on, our collaborations took on a lot more process and thought. We had begun to plan more tempo changes and mood swings into the tracks. I believe we had also begun to listen out for the 'professional' arrangements being used on the 'hit' songs of the day. Of academic interest: Pete came up with the line referencing a "Bubblegum Child". This was a direct reference to the 'poppy' material being recorded by Marc Bolan at this time. His type of top ten hit was referred to as "bubblegum" music, and Marc Bolan was the "bubblegum child".


Chapter 4 - Working for a living – National Westminster [Cont.] [Sep '73]

September '73 - and all was quiet. After many handshakes and ‘Bon Voyages’ to our pals, Pete and I settled back to life at work! There was only one thing to do - buy new guitars! For me, I spotted my crimson 'Gibson SG' copy (CSL - Charles Sommerfield Ltd), in the window of 'Jim Becketts', a long time favourite music shop of ours. Looking back I recall thinking just how 'cool' this thing looked, along with the fact that I'd also seen Carlos Santana play the original to great effect at the Woodstock festival. For Pete it was to be a black, Columbus ‘Les Paul’ copy, bought from a small

music shop in St. Mary’s St, Southampton. I believe we also invested in some very cheap 'wah' pedals and fuzz boxes in our search for more sounds. CSL 'SG' copy (Sep ’73) Columbus ‘Les Paul’ copy (Sep ’73)

(021) GOODBYE (0) (aka MIDNIGHT LAUGHTER) [Sep ‘73]

(May) This was a good example of keeping things simple. Pete had come up with the move from A Suspended to A Major. A simple chord change, but very effective. He had also come up with the line "Midnight laughter filled the air". (Hence the 'alternative' title of the song) Pete had written the words down on the night of Hazel Edmondson's party (May '73). The lyrics were about one of Pete's old flames - Hilary Farrance. This is a poor quality recording but remains priceless. (It's the only recording of this version) A few years on, Pete and I re-visited this song and I added to the lyrics, ..... and with a slight change of feel and direction, this was to become the song ‘When Someone Leaves You’. In fact it became one of our

favourites tracks. (022) NOBODY'S AROUND (1) [Sep '73] (Lockyer / May) This is an interesting track. With our new equipment, we needed a 'funkier' style of song to try out those 'wah' pedals! I'm not convinced that the song stands the test of time, but it was a good effort at attempting something different!


Chapter 4 - Working for a living – "Heritage" [Sep '73 - Oct '73]

Whilst still content working at the bank, those earlier doubts I’d had about a lifetime career with the National Westminster began to return. I’d been promoted in Feb ’73, but although that was good, my contentment didn't last long. To my surprise, I was promoted again on 1

st August, but then immediately

told it would be three years before any further promotional prospect! There sounded the death knoll. Three years seemed, at the age of nineteen, like an eternity! Fortunately, employment was not hard to find, and after first securing other work, I resigned as of 31

st Aug. I immediately started with Legal &

General Assurance (1st Sep ’73). Unfortunately, the pace was even slower. With nothing to stimulate

my brain, my head was about to blow. Against this backdrop of social sadness and daytime boredom, Pete and I discussed putting a new band together. We had just invested in new electric guitars and it was clear we were heading towards a more ‘Rockier’ sound. Pete was now into Manfred Mann’s Earthband, with ‘Joybringer’ (Sep ’73). My tastes had favoured the laid back ‘rock’ of Van Morrison’s ‘Hard Nose the Highway’ (Aug ’73). We were both into Ike & Tina Turner's 'Nutbush City Limits' (Sep '73). However, Led Zeppelin was still the number one role model. We agreed it was time for bigger amplifiers, large speaker ‘cabs’... and a drummer! Pete and I met up with Barry Woolnough, at the West End Brewery, for a final beer before his Mexico departure. He told us how Denis Murphy was now short of a band to sing with, as 'Litany' had folded! (Barry Woolnough was off to Mexico and Peggy Hall was off to University) We caught up with Denis, the following Saturday at the wine merchants, Southampton. He agreed to become our lead vocalist. Soon after, courtesy of a small ‘ad’ in the Southern Evening Echo, we introduced ourselves to Ross Harfield, now to be our drummer. (023) A JAM (0) [Sep '73]

(Lockyer / May / Harfield) This recording was one of two or three 'Jams' designed to 'kick start' us into working with drums. Pete and I are using our old amps - for the last time. This mini-session proved to us that we needed to invest in more 'professional' amplification for our guitars. ..... So, we had the band - named "HERITAGE", after the recent title of one of Pete's songs (Aug ’73), and the guitars. All that remained was to ‘beef up' our amplification. I bought a second-hand ‘Sound City L120 watt Mark IV’ head amp from "Beckett's". Pete and I, together invested in a second-hand ‘HH Electronics MA 100 PA’ amp, courtesy of a DJ living at Botley! We also purchased our first, effective PA Monitors - namely 2 Goodman's 12PG Speakers (2 * 50watt)

and cabinets, which Ross competently soldered together! (Oct '73) Sound City L120 Mark IV (Oct ’73) HH Electronics MA 100 PA Amp (Oct ’73)


Chapter 4 - Working for a living – "Heritage" [Cont.] [Oct '73]

October '73 - Equipment Stock Inventory:- Graham sold

EKO Ranger 12-String CSL ‘Gibson SG’ copy Watkins Rapier 22 Classical Guitar Sound City L120 Mk IV Bird 15 watt combo valve amp (big regret in selling) Goodman Speaker Cab Wah pedal (make unknown) Kay (Tandy/Realistic) Electret Condenser Mic Realistic 4 Channel Mic Mixer Shure Unidyne microphone Mic stand Mouth Organ Tambourine (shared) Pete May sold

EKO 6-String Columbus ‘Les Paul’ copy HH MA100 PA Amp Transistor amp (make unknown) Goodman Speaker Cab Fuzz Box (make unknown) Shure Unidyne microphone Mic stand Denis Murphy Shure Unidyne microphone Various mouth organs (different keys) Ross Harfield Tama Drum Kit Zildjian cymbals ..... Along with the new band came new musical influences. Ross was heavily into Genesis, as was Pete. Genesis were becoming ‘massive’ having secured album hits with ‘Foxtrot’ (Oct ’72), and ‘Selling England By The Pound’ (Oct ’73). Ross saw them appear at the Guildhall, Southampton (11

th Oct ‘73) to promote that very album.

Denis was more content to ply his ‘crooner’ style as he favoured the more traditional and sober sounds of Frank Sinatra. Pete was getting more and more into 'YES' (Topographic Oceans, released 26th Oct '73), having bought tickets to see them, with Sarah Bond, at the Bournemouth Winter Gardens. (17th Nov '73) For me - I was into a ‘rockier’ Neil Young on ‘Time Fades Away’ (Oct ’73), but still found time for Bob Dylan’s ‘Knocking on Heaven’s Door’. (Oct ’73)


Chapter 4 - Working for a living – "Heritage" [Cont.] [Oct '73]

We had the band, "Heritage", ... and the equipment. It was time to rehearse… but where?

Space was a little easier for me at home, at Vanguard Road. With two sisters and a brother now married and living away, it was possible, thanks to Mum, to arrange a few rehearsals there during the occasional weekend. And the rehearsals themselves: for Pete and I, this was our first 'band' playing with others since that last Merry Oak gig (Jun '72). It's fair to say that Pete and I found it quite difficult to adapt our acoustic 'duo' tempos to the rigours of a four piece band, with drums. However, we set about a few rehearsals at Vanguard Road and .... working out the arrangements as we went along. By far the biggest problem was not the lack of space; merely the volumes we were now playing at. Those new amps of ours gave us the means to 'flex' our guitar arms, but evening rehearsals were out of the question at home. Fortunately, Ross was able to arrange rehearsal sessions for the band, in unused rooms at Southampton University, as he worked there as a technician. He also drove a Morris Minor Traveller Estate, and was able to fit the drums, amps and speakers in his car. This was too good to be true. Denis, Pete and I, with guitars in tow, were only a short Bus journey away from some serious rehearsal work! Of academic note:- I still have a planned gigging set list from the Sep/Oct '73 period. It's interesting to look back on the 'mix' of songs we had ready. Goodbye (May) The Party Song (Lockyer / May / Woolnough) Nothing Remained (Lockyer) Here Comes The Sun (Harrison) Hide Your Love Away (Lennon / McCartney) Life I Used To Know (Lockyer / May / Woolnough) Jesu Joy, Man's Desiring (Bach) Heart Of The Country (McCartney) Vanguard Road (taken c.2003) Morris Minor Traveller ('70s)

Anecdote Time: University 23rd Nov '73 During one of those University rehearsals, we were interrupted by two 'hippy' types. 'Procol Harum' were booked to play that night, but cancelled at short notice. The replacement band, 'Caravan', filled the gap,

but without a support band. These two guys had been listening to us and offered us the chance to play support, even suggesting we use the main band's gear. We didn't believe it, declining the offer, and carried on rehearsing. Once finished and packed away, we went down to the bar to hear the last strains of the 'band'. We recognised the two guys who had offered us the chance to play. They were there with the band. Never mind eh!


Chapter 4 - Working for a living – Dark Times [Oct '73 - Dec '73]

This was a difficult section to write, as it's a period I’d rather forget! Now, so many years on, it’s a little easier to make sense of the things that passed, but at the time it seemed like one long nightmare. On the surface, everything appeared ‘rosy’. Full time work was bringing modest financial rewards. It was reasonably interesting, and relatively free from deadline pressures. Pete and I spent comfortable evenings, practising guitar at Beauworth Avenue, and then on to the West End Brewery for many satisfying beers. We were also enjoying the group challenge of working with ‘drums’ and a separate ‘lead vocalist’, for the first time. (Ross & Denis) So what was the problem? Anne was the problem! When Anne left for Lancaster University, in the September, my world began to fall apart. We were writing long, and very loving, letters by return of post, and making telephone calls once a week. Of course, there were no mobile phones then, and calling Halls of Residence, waiting to be put through to the right person, was difficult at the best of times. No, the problem was simply one of us drifting apart. My thoughts were focused on Anne coming home for the Christmas period, and picking up from where we’d left off. Anne had her mind on exploring new places and meeting new friends in her exciting, new surroundings. University social life, new friends, and new men to meet – I didn’t really stand a chance. Slowly, but surely, by mid-October, our conversations, and letter content had changed, with less ‘specifics’ and more ‘generalisations’. Whist in denial at the time, I knew that was the start of the end. Well, totally unprepared, I nose-dived into a tailspin. I become close to suicidal. Yes, this rapidly became the worst period of my life thus far. My mood swings were erratic as I verbally lashed out at anyone within easy distance. I was seriously depressed, and wanted no one to confide in. I also lost a lot of weight. Radical action was the only course that might shake me from my ‘zombie like’ trance, as I feared going under. I hit on the idea of joining the Police Force! [What?]... Yes, what? What could be simpler? I’d be sent away on some intensive training course, where my head would be filled with fresh challenges. After training, I’d be posted away from Southampton, away from home, onto somewhere new to ‘start again’. Basically, I was burying my head and running away from my situation – but I didn’t realise that, then! I told no one of my plans - foolishly, not even Pete, as I’m sure he would have tried to talk me out of it. Joining up was almost as simple as walking into the nearest Constabulary, (Bitterne), and signing the necessary paperwork! Within days I’d resigned from the ‘Legal & General’, and secured temporary work at the General Post Office, sorting Christmas mail. This would keep me financially solvent whilst waiting for my ‘start date’ to be agreed. I left the ‘Legal & General’ 31

st October. The temporary Christmas postal

sorting occupied me from 1st November to 15

th December, and the joining date for the Hampshire

Constabulary was 19th Dec, ’73. I couldn’t help thinking ‘what a great plan’ – until it was time for my

regulation haircut on the 20th December. As I looked in the mirror, with masses of hair falling to the floor,

I froze. What had I done? Me (severe weight loss), Carol, Simon (Oct '73) Simon’s Christening (Dec '73)

Anne was back home for the Christmas vacation. I recall her being quite shocked when I broke the news. Pete was equally shocked. It wasn't a good Christmas for me.


Chapter 4 - Working for a living – Dark Times [Cont.] [Jan '74 - Mar '74]

So, Christmas was over, and there followed two solid months of physical training, and much legal homework to read. This all took place at Sandgate College, Sandwell, Kent. I vividly remember those early weeks of training. I was completely sure I’d be leaving the Constabulary at the earliest opportunity. It wasn’t the nature of the physical exercise, nor the legal studying that gave me the problem. No, it was the style of person I met. All of my thinking was the opposite to my colleagues. I was in another world. A world I wanted no part of. I detested it. This had to be the biggest mistake I’d ever made in my life. I believe my colleagues knew I didn’t fit in, but the instructors were ‘blind’, and often praised me for my efforts saying how well suited I was to this work. I believe I grew up some, at this point. I realised I’d changed many things in my life during the last few months, and that stability was needed to get me back on ‘track’. I decided to let things ‘roll’ and that I’d live with the bad until such time as I could come up with a ‘proper’ long-term plan. Now wasn’t the time for a rash, knee-jerk reaction. On a lighter note, although I’d left my guitar at Southampton, I spent some of my free evenings listening to ‘new’ music, and generally sharing music cassettes with a new pal. During this period away, I listened heavily to John McLaughlin’s Mahavishnu Orchestra, along with much John Martyn and a new name for me, Clifford T Ward. His album ‘Mantle Pieces’ and hit single ‘Scullery’ did much to keep me calm and

relaxed. With training complete, and all exams passed, I was ‘posted’ to Cosham, Havant. (9

th Mar) My ‘digs’

were pleasant – living with a Mrs Joan Jones! Joan was a very pleasant person, and had no problems with my playing guitar around the house. She had one daughter, Linda, who was at University. She was well into the Arts, and had ambitions as a writer. She showed me a file, full of lyrics that she felt just needed some melody? I read them with interest, but writing cold melodies to someone else’s words was a new experience for me. It was a case of thanks, but no thanks, but it had inspired me enough to begin thinking about writing again. This time I would need to go about it in ‘solo’ fashion, as Pete was some twenty miles up the road! However, I did take her up on one very kind offer – namely, she gave me access to all of her Albums and cassettes, whilst she was away. This was some collection, and in particular, she was well into Stephen Still’s solo work. There was much here that I’d not heard! I almost ‘wore out’ the Stills’ albums ‘Manassas’ and ‘Stills 1&2’. As for Pete, Ross and Denis - the local trains were frequent, with just a 40 minutes trip back to Southampton. This meant I’d be able to continue playing in the band on my days off. Things began to look brighter. [Anecdote time] I made that train journey several times over the following months, always carrying my 12-string guitar - quietly strumming on the platform whilst awaiting the train. I believe Paul Simon wrote ‘Homeward Bound’ on Widnes' railway platform whilst awaiting the train. Unfortunately, all I managed was to learn that song of his on Cosham platform! No. 6 District, Sandgate Nr. Folkestone (Jan '74) Cosham Railway Station (Mar '74)


Chapter 4 - Working for a living – "Heritage II" [Mar '74 - May '74]

Catching up on news of Pete and the gang was of critical importance to me. Pete’s song writing collaboration with Alan Wells had blossomed, and he’d spent much time putting his Hitachi cassette recorder to good use. He had also been listening intensely to his growing collection of YES albums. Rick Wakeman’s keyboard style and love of synthesisers was pulling many a listener away

from guitar-only orientated bands. Ross, still at Southampton University, turned his technician skills to good use in attempting to build a synthesiser! However, I don’t recall ever hearing, or seeing, the ’finished’ beast. Denis seemed to drift away at this point. He’d finished with the wine trade, at Peter Dominic's (16 Mar '74), but I don’t recall his next move. Professional music, as always, was changing. The Doobie Brothers’ ‘Listen to the Music’ (Mar '74) and Stevie Wonder’s ‘He’s Misstra Know It All’ (Apr '74) were doing well in the singles charts, along with Robin Trower’s ‘Bridge of Sighs’ (Apr '74) album rapidly earning him the title of ‘new guitar hero’. Steve Harley was riding high with 'Judy Teen' (May '74) while a relatively new band, Sparks, were taking the charts by storm with 'This Town Ain't Big Enough' (May '74). That ‘Spring’ had a ‘funky sound’ to it. Of less commercial impact, but of more serious note for me, was the chance to see 'Paul Williams - BBC In Concert' (30

th Apr ’74). Here was the talented songwriter, Paul Williams, delivering his own versions

of his well-known songs that he’d written for others to perform. [e.g. The Carpenters] This performance left a deep impression on me as I marvelled at the range of his song writing abilities. Another artist left a similar impression on with a great OGWT performance from Tim Buckley with 'Dolphins' (May '74). As for our band – we didn’t have any gigs lined up - just the occasional practice sessions. I recall this being a calming period, with Pete and I moving forward at slow speed. We didn’t consciously re-name the band Heritage II; it just felt like we’d put ‘new strings on an old guitar’. This new laid-back approach served Pete and me well, as it meant we could continue with our own compositions, and recordings, whilst leaving the 'heavier' rehearsals, with the full band, to more sporadic intervals. (024) NOTHING REMAINED (0) [Apr '74] (Lockyer) This was the track I had written for Anne West in Aug '73, only to lose the original recording. Now was the time to re-record the track, but with a different feel - and not with the full band. This track needed a very light feel and sympathetic arrangement. Pete asked Alan and Kevin Wells to join us on harmonies. We recorded this track, at Vanguard Road, by 'bouncing' between the Hitachi and Waltham cassette recorders - hence the noticeable 'hiss' on the track. We were well pleased with the result, but it served to draw our attention to the need for better quality recording equipment. Of more importance to me was that the recording marked the point at which I felt 'OK' about openly discussing my sentiments about Anne to Pete. I felt I was now through that 'dark period', and ready to move on.


Chapter 4 - Working for a living – "Heritage II" [Cont.] [Jun '74 - Jul '74]

My work at Cosham had naturally cut down the amount of time available for our band, Heritage, to rehearse. My occasional weekend returns were invariably spent just with Pete, discussing new song ideas. We had marvelled at the new recording techniques displayed on many modern albums, like 10CC's 'Sheet Music' (May '74). Multi-track recording was way out of our league - yet, we knew this was where we were heading. The arrangements and recording ideas of people like George Martin, Godley & Creme, and Gus Dudgeon now seemed almost as important as the songs and song writers themselves!. Certainly, for me, recording and engineering was to become a 'bug' that would never go away. (The same is true for Pete) So it was, on one of those weekends, back in Southampton, that Pete and I passed the window of Hamilton's Electronics, London Road. We caught sight of two good looking tape recorders - one being a second hand Revox A77, (too much money I'm afraid) the other being our ubiquitous Sony TC252

Sound on Sound 'machine extraordinaire'. It was duly purchased .... along with an incredible Book of Guitar Chords (Minns Music), which we knew would enable us to identify the previously unknown chords we were now finding by accident and experiment! It felt like we were really moving forward with intent. Temporarily leaving the 100 watt amps and stacks to one side, Pete and I set about mastering the art of 'track bouncing' on the Sony. This was a painfully slow process which demanded meticulous planning. Without the luxury of a final mix-down faculty you literally had to imagine the finished sound and hence plan the volumes for all of the tracks, well in advance, in order to carry them through seven or eight 'bounces' etc. Oh, what fun. The Sony TC252 proved to be one of the best purchases Pete and I ever made. SONY TC-252 SOS (Jun '74) 7,488 Guitar Chords (Jul '74)

(025) THE PARTY SONG (3) [Jul '74] (Lockyer / May / Woolnough) The long 'intro' was the part we were interested in here. Our old song, 'The Party Song' was used more as an experiment in sound and recording in order to give us some known solid 'footing'. Pete and I managed eight tracks of 'bouncing' before the degradation in sound would have become unbearable. The song opens with the sound of the 'loo' flushing and next door's dog barking away! We put as many ideas as possible on this one. Distorted guitar sounds, percussion, harmonies - even complex arrangements. (Seemed complex to us) The EKO 12 String still sounds good breaking in over the electric sounds. I love hearing this one because I recall the immense satisfaction when Pete and I had finally let the last guitar chord crash and fade away. This was light years away from anything we'd accomplished before. It was to determine the way were to work from here onwards. A significant milestone.


Chapter 4 - Working for a living – "Heritage II" [Cont.] [Jul '74]

I've already described how the Spring of '74 had a musical 'funky' feel about it. For me the music scene became even more interesting by that summer. My long time hero, Bob Dylan, had a new album, "Before The Flood" (I Shall Be Released) which also showcased the talents of the group 'The Band'. Elsewhere Eric Clapton was introducing many to a new musical style - in the guise of reggae. He 'covered' the track, "I Shot The Sheriff", which brought the name of Bob Marley to the masses. Pete was also more than content to invest in the new McCartney album, "Band On The Run". A little closer to home, Pete and I spent many a Friday evening (when I could) watching a fine Southampton band, named 'Joker' play a mini residency at the 'Spring Inn Pub'. they took their name from the popular song entitled 'The Joker' as played by the very impressive Steve Miller Band. (026) LITTLE LADY (0) [Jul '74] (K. Wells) After asking Alan and Kevin Wells to assist on harmonies on my track, 'Nothing Remained', it was a pleasure to return the favour when they asked Pete and I to record one of their songs. Kevin Wells is on lead vocals, with brother Alan admirably supporting on harmonies. Pete and I are on guitar ..... as well as fulfilling tape recording duties. They were good fun to work with. I remember Kevin insisting on trumpets for the lead instrument. As we didn't have trumpets handy he and Alan improvised, making the sounds up blowing through a comb with tissue paper and using cupped hands. (It worked!) ..... Back to the band, and thoughts moving musically forward. Pete and I were now comfortable playing alongside drums. Those original 'folk group' days were well behind us, and we set about advertising for a bassist! Within a week a certain Dave Randall was knocking at the door, declaring to Pete and I that he

wanted to hear our music before he'd agree to join us. Strange, I thought we were auditioning him. As it turned out, he was actually a superb musician. That's a little bit of an understatement - I've never met or worked with a better bassist - ever. From the moment Pete and I saw a Rickenbacker slip out of his guitar case we knew he was very serious. We both learnt a lot from Dave. Of less musical interest, but of more practical note, I also invested in a second-hand Ford Thames van. With our equipment list ever increasing, it became more practical to get the whole group, drums included, into the van for rehearsal nights. Ford Thames 1500cwt (Jul '74) Rickenbacker Bass 4001 - D. Randall (Jul '74)


Chapter 4 - Working for a living – "Heritage II" [Cont.] [Jul '74 - Aug '74]

Back to my career prospects and more importantly, my future plans. I've already described how I instantly knew I'd made a big mistake in joining the Hampshire Constabulary, and decided to 'let it roll' rather than make some 'knee jerk' reaction in that January '74. Well, six months had now passed, and I had spent a lot of that time thinking ..... and planning. I still hadn't come up with my 'master plan' but I knew that I couldn't continue within the Constabulary for much longer. My three 'start-ups', the Bank, Insurance and the Constabulary, had all left my brain idling with little to no stimulation or heavy demands placed thereon. Being back in Southampton felt good, and the band gave me some of that missing stimulation and interest. I resigned from the Constabulary on Jul 31st, with one month's notice. I knew I had a minimum of four weeks of holiday owed to me so I'd take that in August, on full pay, and use that month to 'chill out' a little. (027) HEADING FOR HOME (0) [Jul '74]

(Lockyer) This song was very simple and plain .... and re-iterates my feelings as explained above. The 'Home' referenced in the song is down to my imminent return to Southampton. ..... Well it didn't take long to plan out the month of August! I believe it was Pete who came up with the idea of taking the 'band' on tour to Cornwall. Pete and Ross both felt they were ready for a summer 'break'. The idea was to simply load up the van with equipment, head for the sunny Cornish coastline, and try to get some gigs along the way. It sounded good to me as well. Unfortunately Denis Murphy was laid down with 'Glandular Fever' during August, which put him out of the trip. Dave Randall had only recently moved to Southampton, and felt it was too soon to take a fortnight off work. (Ordnance Survey Offices) However, our long time Itchen College pal, Dave Westerman, was back for the summer, and was definitely 'up for it'. We also kicked off the first night, camping at Cradle Hill, Warminster, with Dave Randall's pal, Clive, staying for the one night! Pete, Clive ?, ??? - Warminster Dave Westerman, Clive ?, Pete, Me


Chapter 4 - Working for a living – "Heritage II" [Cont.] [Aug '74]

Pete, Dave Westerman, Me Ross Harfield, Me, Dave Westerman

Leaving Clive to head back to Southampton, we continued .... the goal being to make it to Lands End ....

and back! We found a fantastic trendy summer haven just a few miles up the coast from Lands End. Skewjack Surfing Village at Sennen Cove. We set the gear up and played in the main hall. A few miles further down the coast, we did a similar thing, setting the gear up at the Minack Open air Theatre - overlooking the sea with the waves crashing down on the rocks below. That really was something. Generally lazing, and sunbathing to pass the time, this was the ultimate in relaxation. Further up the coast at Tintagel, I can remember Pete and I playing acoustic guitars, singing our own songs, sitting on cliff tops overlooking the bay on a glorious sunny day. With new strings on our guitars, it was heaven. A fun time! I found an old diary many years back, marking the dates: 2nd - 17th Aug '74. ..... No sooner had we returned to Southampton, Pete decided on taking a shopping trip up to London in the hunt for more gear. With Ross and I joining him for the trip we soon amused ourselves looking around the 'Fender Sound House' store in Tottenham Court Road. Pete was after a Fender ‘Stratocaster’, but came back with a Sunburst Dallas Arbiter ‘Les Paul’ Copy, an ‘Electro-Harmonix Big Muff’, a ‘Jim Dunlop Cry-Baby Wah’ pedal ... and an Epiphone acoustic! Ross and I helped carry the gear back. [Of note: Pete timed this well as the Fender Sound House burnt down, under mysterious circumstances, a week or two later. (Sep '74)] Dallas-Arbiter Les Paul Copy


Chapter 4 - Working for a living – "Heritage II" [Cont.] [Aug '74 - Sep '74]

August was proving to be a busy month, and Pete was keen to put his new purchases to good effect on some fresh recordings. (028) WHEN THE WORK HAS ALL BEEN DONE (1) [Aug '74]

(Lockyer / May) This one was completely new. Pete and I had come up with this whilst on the 'Summer Tour'. here was the first chance to capture Dave Randall on bass. Just for a change, I'm on lead vocals. Pete is on backing vocals, and perhaps that's Alan Wells coming up with tambourine. I'm not sure why Ross isn't there on drums ... The only thing, hearing it back, is that it does seem to end too soon. Maybe it should have had another verse, or perhaps a bridge section, or ...... or whatever ............ (029) HERITAGE (1) [Aug '74] (May) Great chords - good lyrics. This one was down to Pete. (Originally written Aug '73) Alan Wells takes on lead vocals here, as Denis was still nursing his 'glandular fever'. Dave Randall is in excellent form on bass, and Kevin Wells joins his brother to add harmony. Pete is finger picking on his new Les Paul Sunburst, while I double track on electric lead guitar. An altogether excellent recording. (Again, I can't recall why Ross isn't there on drums?) (030) THE LIFE I USED TO KNOW (3) [Sep '74]

(Lockyer / May / Woolnough) A fresh version here of one of our very early songs. The track opens with church bells and street scenes, courtesy of BBC Radio phonic Sound Effects Volume 3. Dave Randall not only plays glorious bass on this one, but also manages a few nifty lead guitar lines. Pete plays the main lead guitar here, with Pete and I sharing lead vocals. It was Pete's idea for the song to fade out, slow down and then come back in at the end of the track. It worked well. Just for fun, there is a crazy addition at the very end of the track. I'd been practising hard, listening to Ralph McTell. (Of course he is an extremely polished guitarist, as opposed to just being known for writing The Streets Of London) Well, having just learnt this little 'riff' from one of his songs I was determined to get it onto tape. So - why not put it at the end of this track. It seemed to make sense at the time. ..... Now back to my future career thoughts - and still no solid plan. I was fine for money, having saved plenty from my time within the constabulary. That August had been fun, and I needed that. However, I wasn't quite ready to get back into full time employment. I decided on one more vacation - this time - solo. I booked a European Student Rail Pass, and planned to spend that September travelling across France. I knew that on my return I had to return to full time work, but the time, alone, would give me the chance to sort out my thoughts. What a nightmare .... my trip lasted just one week (1st - 7th Sep '74). I was having a great time and had made it to the beach at Nice, when I was politely 'mugged' and had my money, rail ticket and passport stolen! Thanks to Mum sending me fresh funds for the return train, and the British Consulate in Nice, I was back by 8th September. An interesting experience.


Chapter 4 - Working for a living – "Heritage II" [Cont.] [Sep '74 - Oct '74]

So, back in Southampton, sooner than planned, but nonetheless in good spirit. Within days, I was back into the routine of band rehearsals and guitar practice with Pete May. The good news was that I had now decided on my future plans! Ideally, I wanted to continue my guitar and song writing in some professional capacity. Unfortunately, being in a 'group' was hardly recognised as a serious profession. I decided to return to full time Education by enrolling for Teacher Training. This would at least give me a minimum of another three years to explore my musical adventures. There was, however, just one small problem. In order to qualify for a 'full' government grant, the rules of the day dictated that 'mature' students had to have worked and paid pension contributions for a minimum of three years. Oops, I needed another ten months or so of employment ..... but where and in what? Unfortunately, finding permanent employment was proving harder than I wished, but, as in the previous year, I took on work at the General Post Office to keep me 'ticking over'. Meanwhile, back to the band and the news coming from Dave Randall was that he had to quit his work and return back to his family, somewhere around Stratford upon Avon. Losing a quality player like Dave was a big blow, but we had managed before and we'd manage again. (031) BASS SOLO (0) [Sep '74] (D. Randall) Before Dave was due to leave Southampton I persuaded him to let me record this instrumental he'd written. Dave was a quiet guy. An astonishing musical talent. Between songs and recordings he'd patiently practice scales on his Rickenbacker! When he started playing this piece I couldn't believe how good it sounded. This recording doesn't do it justice - but it's the only recording I have. Dave had written this piece just as a practice exercise. He just thought it was OK I had to record it. Wonderful stuff. ..... So, Dave Randall had left, and right on cue, Denis Murphy resurfaced having recovered from his 'glandular fever'. The band 'Heritage' were ready to roll again! The professional music scene was also marking some interesting changes. Pete and I marvelled at the talents from a fresh new band, 'Supertramp' performing 'Rudy' and 'Dreamer' on the OGWT (Sep '74). 'Queen' were busy releasing their brand of live bravado with the track, 'Killer Queen' (Oct '74), whilst 'Roxy Music' were aiming high with 'All I Want Is You' (Oct '74), a real favourite of mine. Closer to home, here is a 'gigging' list of the band which shows our compositions and 'cover versions' that we were actively rehearsing:- (Sep '74) Sarah's Grave (May) Tea In The Garden (May) I Shall Be Released (Dylan) When I'm Dead and Gone (McGuiness / Flint) Won't Be Coming Back (May) Babe I'm Gonna Leave You (Page / Plant) 4 + 20 (Stills) Pub Song (Lockyer / May / Woolnough) So, with the band rehearsing well, we took advantage of one Saturday afternoon at Vanguard Road, to record our progress. We set the cassette machine to 'record', and went for it. i.e. no overdubs or re-runs! We played many cover versions on that 'Vanguard Road Session', (Oct '74) namely:- Here Comes The Sun Pinball Wizard Catch The Wind Heart Of Gold Colours While My Guitar Gently Weeps Chim Chim Charoo ! Your Song Jesu, Joy of Man's Desiring (cover of the Leo Kottke version)


Chapter 4 - Working for a living – "Heritage II" [Cont.] [Oct '74]

Our own compositions on that tape show just two 'new' compositions - namely:- "Every Time" and "Someone's Laced My Tea, Ma!" Some of the others, though written some time back, are here recorded in their 'fuller arrangement' style. (032) HERITAGE (2) [Oct '74] (May) With Denis now back on board taking lead vocals, Pete and I were happy to concentrate on the arrangement. Denis made a fine job of this, and the track stands up well against the version recorded with Alan Wells (Aug '74). Of course that version benefits from the 'studio' overdubbing with the Sony TC-252. (033) BREAKING MY BACK (1) [Oct '74] (Lockyer / May) This one was written at Pete's house (Aug '73). Interestingly, we wrote this, and many of the others, on acoustic guitars, but knowing they were destined to be heavy rock songs. This was our first opportunity to hear them on 'electric' guitars with solid drumming. (034) EXPRESSIONS (1) [Oct '74]

(Lockyer / May / Woolnough) This was a re-working of an old song we had written with Barry Woolnough, back in our College days (May '72). Pete and I changed the tempo, the 'feel', and the pace. Listening back, Ross comes over well on drums with his solo. For me, I was pleased with the sound I was getting from my Sound City amp and speakers. It was just the notes that were giving me trouble! (035) SOMEONE'S LACED MY TEA, MA! (1) [Oct '74] (Lockyer / May) Here was a definite attempt by me and Pete to write with the arrangement firmly in mind. We planned the riffs and calculated the bars before each Tempo change. We also spent a much longer time than 'normal' on the lyrics. (036) NOBODY'S AROUND (2) [Oct '74]

(Lockyer / May) Denis takes over the vocals, in contrast to the Sep '73 version where Pete and I were attempting a 'funkier' sound. Here it moves towards a more 'rockier' sound, which unfortunately was not the intention. (037) EVERY TIME (0) [Oct '74]

(Lockyer / May) The tempo change was quite adventurous - but the main problem was that we were all thinking in different directions. A most 'un-together' track. (038) THE BLUES (3) [Oct '74]

(Lockyer / May / Woolnough) A rave from our limited back history. Dennis littered this version with his cabaret impersonations. (How many can you spot - especially at the end of the track?) The track, though recorded in fun, does show Dennis in fine form on harmonica.


Chapter 4 - Working for a living – "Heritage II" [Cont.] [Oct '74 - Nov '74]

The following two tracks show the band in rehearsals at the University:- (039) SOMEONE'S LACED MY TEA, MA! (2) [Oct '74] (Lockyer / May) Denis Murphy is on lead vocals, with me joining him on the chorus. Pete provides the wah guitar effects. I take on the 'fuzz box' solo after the bridge section - but unfortunately the recording is broken midway through this point. All in all, a very restrained version. (040) SUNSET (5) [Oct '74] (May / Woolnough) A revamped version of one of our earlier 'classics' from the days with Barry Woolnough and Pete Crawford. Dennis made a good job of this on lead vocals, and played the harmonica well. Hearing it again, it's strange how it misses Pete Crawford on bongos, even though Ross Harfield provides a cool jazzy feel with the drums. ..... By early November, rehearsals had gone well, and the album and singles charts were giving us plenty of cheer. 'Supertramp' took the album charts by storm with the classic "Crime Of The Century". 'Genesis' were keeping Ross Harfield content with "Lamb Lies Down On Broadway". On the singles front, 'Bachman-Turner-Overdrive' were doing well with "You Ain't Seen Nothing Yet", whilst a fresh group, 'Ace', were pleasing everybody with their great track "How Long".

Our thoughts now turned towards playing another live gig. It was to be at the 'Spring Inn', Woolston.

This pub had become a regular 'haunt' (Aug '74), since we'd first seen the band, Joker, take up a Friday / Saturday residency there. Unfortunately Dave Randall had now left for pastures new, but at least Denis was back in the 'fold'. However, although he had sung well on those October recordings, he was still feeling the effects of those three months out with glandular fever, and he wasn't certain that he could sing a full two hour set. We began the search for an additional vocalist to help 'pace' Denis for the gig. I'm not sure how we chose the guy, but I have an idea he was known to Denis. The name Steve Young comes to mind - but I'm not

sure if that's correct. Again, my memory is failing me a little here, but I believe we played the Spring Inn twice during that November. If true, then the following recordings will have been the second of the two gigs, as we never played there again! The date is without question, because Pete well remembers a conversation with our taxi driver (the Thames van now sold), about the IRA Birmingham Pub bombings that evening! Spring Inn Pub (Spring Rd / Rosoman Rd) - Thursday, 21st Nov '74

The set list shows some extreme variation in style ..... and was, for the most part, based on cover versions. The 'covers' were:- Little Lamb Dragonfly Catch The Wind Ticket To Ride Your Song Heart Of Gold The Boxer 4+20 Here Comes The Sun Fire & Rain Eight Days A Week First Song Nights In White Satin Let It Be Stairway To Heaven Space Oddity My Way


Chapter 4 - Working for a living – "Heritage II" [Cont.] [Nov '74]

Spring Inn Gig - Thursday, 21st Nov '74 [Cont.] Our own compositions from the gig were:- (041) SARAH'S GRAVE (0) [Nov '74]

(May) This was originally written by Pete during summer '73, after a mini vacation he spent with Aidan and Tom on a second archaeological 'dig'. He tells me he was thinking of the Leo Kottke track, 'Sailor's Grave on the Prairie', along with the fact that he'd been 'digging' around Sarah's grave, at the 'dig'! Pete is on finger-picking acoustic, with Denis on vocals. Ross is there in the background with a few cymbal hits and mini tom rolls, but basically it's a Pete and Denis duo. (042) TEA IN THE GARDEN (0) [Nov '74]

(May) Pete starts this one with his finger-picking style but then switches to chords. Ross is, again, giving some very sympathetic light touches on the drum kit, but with Pete on vocals, this is very much a solo Pete May performance. (043) HERITAGE (3) [Nov '74] (May) Denis sings this well live - considering the range of the melody is vast. I believe it's Steve Rennie adding some backing vocals in there (our additional lead singer for the night). This time I arrive on lead 'fuzz' guitar taking the solo. I'm pleased with this recording given the live surroundings. (044) SOMEONE'S LACED MY TEA, MA! (3) [Nov '74]

(Lockyer / May) Denis and I share the lead vocals. Pete gives a fine sounding wah guitar chord backing, and then promptly takes the first guitar solo. This track was fairly long, which explains why we had time for me to take a second guitar solo, after the bridge section. Again, given the surroundings, this is a good recording. (045) BREAKING MY BACK (2) [Nov '74]

(Lockyer / May) We were edging towards the end of the gig here, and the volumes and balances were beginning to stray a little. I start on with a wah riff, with Pete coming in with heavy fuzz chords. By the time I'm ready to take a guitar solo, my guitar is simply way too loud. (046) EXPRESSIONS (2) [Nov '74] (Lockyer / May / Woolnough) The penultimate song of the night - with frustration showing in our playing. Denis is on lead vocal with me, arriving very late, for a guitar solo in the middle section. Ross picks up the groove and heads towards a mini drum solo, and then Pete and I return with the amps set to eleven! The ending is a frenzy of detuned guitars and missed notes.


Chapter 4 - Working for a living – "Heritage II" [Cont.] [Nov '74]

Anecdote time: Whilst rehearsing the gig, Ross accidentally dropped the HH Amp. The crash sound that followed was caused by the internal spring reverberation of the amp. Incredibly, the sound it made was a 'perfect sample' of the effect used in the Paul Simon song 'The Boxer'. There was no question - we just had to do a version of that song, using that sampled sound. Unfortunately, to repeat the sound you had to allow for a few milliseconds of delay before the 'crash'. I recall Ross practising for hours trying to gauge the point in the song in order to allow for this delay. (I thought drummers were supposed to have good timing? Only joking, Ross) Well, on the night of the gig, the HH Amp received a round of applause itself. Honest! The second highlight was the ‚encore. (The last song actually, .... 'cos we didn't get an ‚encore!) Dennis had pushed Pete and I all through rehearsals to do the Sinatra classic, 'My Way'. Then, as the evening drew to a close, Dennis had the last words. (Ooh, eeh, Musky - as I recall?) He announced to the audience that we would do 'My Way'. I turned to Pete and squirmed 'cos we hadn't rehearsed enough. Somehow, we ground our way through the next three minutes! Special mention goes to Dennis here. He was a real trouper, of the old fashioned variety. Whenever we stopped, forgot words or whatever, Dennis would just keep going. I also recall so many occasions when Pete and I would suddenly demand a harmonica solo - and he would oblige, without hesitation. He had his amusing side as well. He'd often tell jokes to amuse the audience. At other times he'd break into doing various impersonations, although this blew our credibility as a Rock Band, somewhat. A particular favourite, was his impersonation of 'Deputy Dawg'. Don't ask me why this one sticks in my brain. I fondly think of Dennis in this way. ..... On a slightly more serious note, but still on the subject of the gig - Pete and I listened back to the cassette recording over the following few days. It's fair to say that we were both disappointed in the results. It wasn't the quality of the recorded sound that troubled us; it was the overall feel and arrangement of the tracks. i.e. the band itself! We met up with Denis and Ross and discussed disbanding the group. We stayed pals and agreed it would be best to plan future gigs or recordings on an ad hoc random basis. Denis was very 'down', feeling that we were blaming him for our disappointment. In hindsight, I believe that we were all to blame, as Pete and I clearly weren't sufficiently experienced enough to adjust to working with others .... and drum arrangements etc. Pete and I were at our best crafting our way through light, acoustic rhythms and soft rock tracks, with thoughts on how best to use the Sony TC252 overdubbing recording machine! We didn't actually admit that at the time, but it was evident from the fact that we moved swiftly onto our next 'project' (as a duo) with great enthusiasm. Denis Murphy (Jul '74) Ross Harfield (c. '74)


Chapter 4 - Working for a living – 'Parallel' Album [Dec '74]

December was upon us, and we hit the ground running, enthusing over that next 'project'. The idea was to produce a cassette 'concept' album, complete with cover, and links between the tracks. We chose the tracks from the period between Apr '74 - Dec '74. This meant, in the main, that the tracks had been recorded on the Sony TC-252, which had already become our preferred means of recording. Those multi-track recordings from the great artists of that time (e.g. 10CC) had really caught our attention, and we simply loved experimenting with these new overdubbing ideas. The opening track was the Jul '74 recording of the Party Song. This had been our first 'experiment' with the Sony. As already discussed, this one had seven layers of sound tied together. We had the idea of applying some BBC Sound Effects to 'link' some of the tracks together. This was nothing new to those familiar with the layering between the tracks on the Beatles 'Abbey Road' album, but to Pete and I it was a challenge. We named the album 'Parallel'.

Running order: [Note: the numbers after the track indicate the songs used, and already numbered within this book, prior to any added Sound Effects] 01 The Party Song (Lockyer / May / Woolnough) (025) Jul '74 02 Nothing Remained (Lockyer) (024) Apr '74 03 Moonlight Serenade (Miller) (047) Dec '74 04 Someone's Laced My Tea, Ma! (Lockyer / May) (048) Dec '74 05 Jesu, Joy of Man's Desiring (J.S. Bach) (049) Dec '74 06 Heritage (May) (029) Aug '74 07 The Life I Used To Know (Lockyer / May / Woolnough) (030) Sep '74 08 Nuclear Split Pin (arr. Harfield) (034) Oct '74 09 Sunset (May / Woolnough) (040) Oct '74 10 Little Lady (K. Wells) (026) Jul '74 11 When The Work Has All Been Done (Lockyer / May) (028) Aug '74 Track 08, Nuclear Split Pin was simply a re-naming of the 'edited ending' taken from the Oct '74 recording of "The Blues". It seemed a good idea to include Ross' drum solo as a separate piece. You will also notice three 'new' recordings (03, 04, 05). These had been recorded during that December, specifically to fill out the 'gaps' left on the album. (047) MOONLIGHT SERENADE (0) [Dec '74] (G. Miller) A strange choice. Two months beforehand I'd persuaded Mum to let me have a piano in the house. For the princely sum of £5, and a set of aching limbs, gained from fetching the damn thing from Portsmouth, (Thanks Noel) it gave Pete and I a different sound to experiment with. (Of course, the fact that I couldn't play piano seemed totally irrelevant at the time) (048) SOMEONE'S LACED MY TEA, MA! (4) [Dec '74) (Lockyer / May) Fuzz guitars and wah-wah pedals abound. A bit of anything and everything on this re-working of one of our 'newer' songs. Kevin Wells is lurking there somewhere on additional guitar. He is certainly there with his brother Alan, on harmonies. (049) JESU, JOY OF MAN'S DESIRING (1) [Dec '74]

(J. S. Bach) Again, a strange choice. Ever since Pete had bought that Leo Kottke guitar album, back in Apr '73, I had been patiently practising his version of the J S Bach piece. Here was my chance to record it cleanly onto the Sony. (The earlier Vanguard Rd version on cassette was none too clear). Unfortunately, over time this recording has been somewhat damaged.


Chapter 4 - Working for a living – 'Parallel' Album [Cont.] [Dec '74]

With the cassette 'concept' album completed, Pete and I chose a photo of a 'Sunset' to use as the cover. We labelled each track carefully and date stamped the album "1/1/1975". This was simply because we were still working on the cover up until 31st Dec, and we felt it would make a fine start to the imminent New Year, and draw a line on the old! ..... On a personal level, the New Year was to be of great significance to me in more ways than one. You may recall how back in Sep '74, I had decided to re-enter full time education - well, this was the month. After writing to several Teacher Training Colleges, I received an invitation for interview at Cartrefle Teacher Training College, North Wales. With those memories of my examination failures of just two years beforehand fresh in my mind, this was my opportunity to put things 'right'. Yes, I would be entering as a 'mature' student, whereby those stringent entry qualifications are lifted slightly, but once in, the opportunity to qualify and finally 'make the grade' was there for the taking. I had no idea how far Wrexham, North Wales, was from Southampton, but after many train changes I soon found out. Yes, it was a long way. In terms of Council boundaries, it was part of CLYWD. Oh dear, I couldn't even pronounce that. That was now a new Borough, formed in 1974, replacing the former Wrexham, Denbighshire and Flintshire regions. I was also to find out that at the time of my arrival, September '75, the College was to become the North East Wales Institute of Higher Education. (NEWI) This was a large Institute, incorporating Cartrefle Teacher Training, Denbighshire Technical College, and Kelsterton College of Connah's Quay at Deeside. Finally, all degrees were to be validated by Salford University. Phew! By Dec 21st I received formal notice of acceptance to start in September '75, to study Business Studies. What a great Christmas gift! As if that wasn't enough I also was successful in applying for full time employment, as a Schedules Officer, at the Hants & Dorset Bus Company, Southampton - starting 1st February '75. Now I have to

admit to a little bending of the truth here, as I convinced my new employers that I intended to make this a long term career, knowing full well I had already accepted my Teacher Training offer in writing, prior to this interview. However, what would you have said? So December '74 came to a close looking great from my perspective. My next three years appeared to be well planned, and my new employment would give me ample time to re-build my savings. All I needed to do now was to concentrate on writing some new songs with Pete!


Chapter 4 - Working for a living – New Horizons [Jan '75]

January is always a good time to take stock and make fresh plans. In my case all my planning had been made during that previous December. I was ready to hit the New Year running. With that done , I 'chilled out' and spent some of my 'hard earned' on a great new album by John Martyn, called "Sunday's Child". The mellow guitar playing and writing style was to be of enormous influence to me from here-on. For Pete and I together, we followed a new name, Steve Harley', storming the charts with "Make Me Smile". (050) HIGHWAY LADY (1) [Jan '75] (Lockyer) Here was the first of many of my compositions to be directly influenced by that John Martyn album, "Sunday's Child". The chords are very simple and few, with the words relating to my ill fated trip to France, during Sep '74. The 'Highway Lady' was a girl from Leicester, whom I'd met on the train 'travelling South'. (051) JUST GOOD FRIENDS (0) [Jan '75] (K. Wells) Time for another of Kevin Wells' songs. This was my favourite of his. This was heavily influenced by The Beatles, and in my opinion, is a very well crafted song. Alan and Kevin knew exactly what they wanted on this track, so Pete and I pressed the 'play / record' button on the Sony, and played as asked. The harmonies from Kevin and Alan were never bettered. This is a gem. (052) THE REAPER (1) [Jan '75] (Lockyer / May) Time for a change of sound ... or sound effect to be precise. Pete and I met one of Bob May's pals - Dave Poulton. Dave sold us an interesting little gadget - a Watkins Copicat. This was a tape echo unit which allowed endless loops of repeats until 'hiss' and general 'noise' took over. Pete and I had real fun playing around with this thing. So much fun that we decided to write a song just because we 'had' to record using this new toy! At this time Pete and I were still in awe of the guitar skills of Leo Kottke. During '74, I had purchased an album of bottleneck guitar solos by Pete Finger. He was equally impressive, and it's no surprise that Pete May and I felt it time to record our track with some slide guitar. The song itself, a D tuning piece, is actually quite good - in my opinion! Watkins Copicat Mk IV Pete Finger, Bottleneck Solos ('74)


Chapter 4 - Working for a living – New Horizons [Cont.] [Feb '75 - Apr '75]

(053) WHEN SOMEONE LEAVES YOU (1) [Feb '75]

(Lockyer / May) Our new batch of material was sounding good to us on the Sony machine. We were ready to record more, but were short of a new song. Pete and I dug into our back catalogue and decided to re-work one of Pete's tracks, namely 'Goodbye' (021) [Sep '74] I added a new verse, which became the new 'Verse 1'. The lyrics refer to my breaking up with Anne, a year or so before. By now, I was well over the 'bad vibes' and Pete and I recorded the track in good spirit. Looking back, after all these years, I wish we had added a 'bridge' section to the song, but, nevertheless, this is still a fine recording. Of academic interest - Pete is on lead guitar for a pleasant change, with Alan and Kevin performing their harmonies as sweet as ever. I'm on lead vocals. (054) ANOTHER BIRD HAS FLOWN (0) [Mar '75] (Lockyer / May) Now here is an interesting recording. It's Pete and I 'messing' with the Sony Recorder and trying out ideas. I don't believe the track was ever finished - it just consisted of some very eastern sounding scales, mixed in with some nicely recorded classical guitar riffs. I'm not sure where the lyric came from, but we repeated just the one verse as a means to get something down on tape. (055) HAZE AND HER FRIEND (0) [Apr '75] (Lockyer / May) Easter '75 was upon us, and it proved to be very warm. Dave Westerman, Tom Woolcock, Nigel Clemons, Hazel Edmondson and Aidan Jarvis had all come back from their respective Teacher Training 'hideouts' and spent that Easter in Southampton. Pete and I met up with them as we spent one fine spring evening walking down by the river Itchen at Western Shore, Southampton. I seem to recall that evening being a relaxed affair, 'swigging back' a few ales, and 'skimming stones'. Pete and I wrote the song within a few days, as a reminder of that fine night. Of interest, the 'Friend' in the Song Title, was Jan Barber, a College friend of Hazel, who came down to spend the Easter with her. Unfortunately, only have half of the song remains - but I've included it here rather than run the risk of losing it for good. (056) DRIFTWOOD (0) [Apr '75] (Lockyer) A solo instrumental effort from me ... and the Sony TC-252. The SOS (Sound on Sound) button was such a joy to use. It meant you could overdub some very simple riffs, and 'grow' a track from the ground up, so to speak. It really was a fine way to try out ideas. I started the track with a Bass riff, and added lead guitar accordingly. It took just three or four overdubs, and a little re-recording .... and there it was! (057) ACOUSTIC INSTRUMENTAL (0) [Apr '75] (Lockyer / May) Pete is in fine form on the melody lines and picking here. I stay on rhythm guitar. Another good example of us using the Sony to 'experiment' with our ideas.


Chapter 4 - Working for a living – New Horizons [Cont.] [Apr '75]

'New Horizons' is a very apt name for this Section. My 'short term' planned career move at the Hants & Dorset was working out better than expected. You will recall that I grabbed this opportunity to keep me 'earning' until my September Teacher Training days were to beckon. Yes, work was proving to be of immense interest and fun. I loved it. My boss, Geoff Appleby, a genuinely 'nice' guy, called the shots, whilst a younger guy, David, a walking 'computer' full of detailed timetables and historical bus information buzzing around his head, was equally pleasant to work with. A third colleague in the office was Richard Hepper, a guy so into his music. I had just turned 21 years (Mar '75), whilst Richard was some ten years

older than me. He and his social circle of friends had musical knowledge and ideas well in advance of me. Here was a great opportunity to listen and learn. My musical tastes were changing fast and I was already well into Frank Zappa, Ian Anderson's virtuosity on the flute and guitar, the tenor sax of Keith Gemmel and the vocals from Howard Werth (Audience - House on the Hill etc), ... along with all the best from Roxy Music.

However, none of this prepared me for the recordings lent to me by Richard. I now listened to the Velvet Underground, Lou Reed, Jefferson Airplane, Brian Eno, Phil Manzanera and Terry Reid. Two influences in particular have stayed with me since those days, namely John Cale and Captain Beefheart. John Cale's lyrics and melody lines, along with his 'manic' piano playing are in a style all his

own. As for Don Van Vliet (Captain Beefheart) ........ Richard persuaded me to buy his triple album, 'Trout Mask Replica'. If you've never heard this album then be warned. Your musical taste buds will

never be quite the same again! As if these influences were not enough, Richard suggested I write some new song material using pre-written lyrics from one of his pals. A hasty introduction to Howard Goldstein followed.

Howard was enigmatic. From his late 'teens he had travelled around America, living life fast and to the full. Here, in the U.K., he regarded himself as a misunderstood 'poet'. In fact, he was a very complex, 'larger than life' character with a razor sharp mind, and with intense literary skills to match. Life could never be dull with Howard around. All of his crazy experiences came out in his lyrics - many of which I profess to have never really understood. However, if you knew Howard, you would know it didn't really matter. I recall those days with Richard and Howard with a great deal of affection. So, with these new influences causing me to alter my style, and armed with a tasty collection of Goldstein lyrics to hand, what else could I do but sit down and reach for ........... my guitar. [Of academic interest, I now also reached out for ... my flute. I had just purchased a 'Boosey & Hawkes' flute (Mar '75) - a 21st birthday gift to myself. Obviously, I couldn't play a note - but I didn't feel that would stop me from using it on any new recordings!] Me, aged 21 (Spring '75) 'Boosey & Hawkes' Silver Flute


Chapter 4 - Working for a living – New Horizons [Cont.] [Apr '75 - Jun '75]

(058) REACHING FOR THE SKY (0) [Apr '75]

(Goldstein / Lockyer) I've always loved this one. I know the flute leaves a lot to be desired, but I'd only been learning it for a few weeks or so. Still, the chunky chords and Howard's lyrics are great. I've no idea why my voice sounds the way it does. I don't recall recording it any special way. Still, my classical guitar sure made a healthy solo sound. I was pleased with that. (059) WALK INTO THE SUNSET (0) [Apr '75]

(Goldstein / Lockyer) More flute, but very slow and lacking that certain 'je ne sais quoi'. I suppose learning to write melody lines once the lyrics were already cast in stone was a little like starting over again. Anyway, there were some good bits in there struggling to get out, but oh, what a struggle. (060) GOTHIC INHIBITIONS (0) [May '75] (Goldstein / Lockyer) By now I was heavily into either working through Howard's lyrics, or listening to more of Richard's album recommendations. However, Pete May and I still continued with our own material. One night down the West End Brewery, I brought Pete up to speed with my newer song output, and began describing Howard's style to Pete. Not surprisingly he seemed slightly bemused but nevertheless intrigued. Pete wanted to join in on one of these recordings. Without further ado we set the tape machine to play/record. I'd already written the melody lines for this track, so Pete and I just decided to have some fun. Enjoy the wonderful kazoo playing from Pete. (061) NOTHING TO SAY (0) [May '75]

(Harfield / Lockyer / May) This one is an interesting little nugget! I'd long since forgotten this one existed, but thanks to Pete's collection of cassettes, it lives on! The idea and the majority of the lyrics came from Ross Harfield. The flute confirms the period and timing, with Alan Wells' harmonies confirming the recording location at Beauworth Avenue. (062) SNOWS AND FURNACES (0) [Jun '75]

(Goldstein / Hepper / Lockyer) This was recorded at Richard's house. I'd really begun to get into jazz chords at this stage of my guitar playing, and I seemed to be hell bent on getting as many diminished ninths as I could. This one had Howard on bongos, Richard on comb, (yes, seriously) and Gloria, Howard's wife, and Richard's girlfriend, Linda, on backing harmonies and bells! What else can I say? (Plenty, but I'd better not.)

(063) LADY MORTALITY (1) [Jun '75]

(Goldstein / Lockyer) A solo effort from me ... in experimental mode. I played the Bass riffs using my 6 string electric. My vocal style was a straight copy of the style used by John Martyn. Hmm. Most interesting. (064) LIFE ON THE BORDER (0) [Jun '75]

(Jones / Lockyer) Here was another attempt at my playing rhythm, copying the style of John Martyn. This time it was slightly different as I used a set of lyrics given to me by the daughter of Mrs Jones, back from my days lodging at Cosham, Hants. I had tried to compose melodies to her lyrics before, but to no avail. This time I had the chord structure and melody fixed firmly in my head - I was determined to make her lyrics complete the picture. Unfortunately, I don't believe the experiment worked too well as my phrasing is wide of the mark. Still, it was fun trying to make it work.


Chapter 4 - Working for a living – Bucklers Hard [Jul '75 - Aug '75]

Master Builders Hotel (Far Right), Monty, Terry Lidbury, ??, Bucklers Hard, Beaulieu Barry Ducrow

Moving away slightly from those heady sessions with Howard Goldstein and Richard Hepper, Pete and I took up many a Friday evening, during Jun / Jul '75, playing as a duo at a fantastic pub, buried deep in the New Forest, Hampshire. This is the time to introduce another circle of friends who would join us on those fun weekend excursions. The first name up was Paul Williams. Paul was a near neighbour of mine at Vanguard Road, and it was he who introduced Pete and I to his pals, Terry Lidbury, Barry Ducrow and Andrew Montgomery. All

four of them were school pals together and, in the main, were working their apprenticeships as car mechanics. This proved useful as they were able to get me and Pete, and our guitars, to those gigs on time. The pub itself was a beautiful building set close by the River Beaulieu. The clients were mostly extremely well-off 'yachting' types who would moor up by early Friday evening and relax on the river for the weekend. Pete and I were paid 'in kind' for our performances. The landlord provided a little free ale for us and our pals, whilst two friendly barmaids arranged free overnight accommodation in the hotel rooms there! All in all, it was a fun time and a great way to spend our summer weekends. No recordings were ever taken, but I do have a list of songs that Pete and I used to pick from, to vary our set. I've underlined our own compositions within the list:- (Jul '75) You've Got To Hide Your Love Away Eight Days A Week We Can Work It Out Yesterday Heart Of The Country Your Song I Need You To Turn To Fire & Rain The Boxer Two Of Us Mr Tambourine Man 4 + 20 (S Stills) First Song (R McTell) Tea In The Garden Country Road (J Taylor) Goodbye / When Someone Leaves You Someone's Laced My Tea, Ma! Heritage When The Work Has All Been Done Nothing Remained Sarah's Grave Sunset The Party Song Nowhere Man Jesu Joy of Man's Desiring Judy (J Renbourn) Hey Jude Here Comes The Sun Babe, I'm Gonna Leave You I Shall Be Released Haze and Her Friend The Life I Used To Know


Chapter 4 - Working for a living – 'Amaze In Space' [Aug '75]

Aug '75 proved to be an 'amazing' month for the volume of its song output. (065) EYE OF DISGUST (1) [Aug '75]

(Goldstein / Hepper / Lockyer) I was pleased with the laid back, soft voice feel on this track. Unfortunately, my 12-string is a little too high in the mix. Richard adds some acoustic guitar towards the end. (066) LADY MORTALITY (2) [Aug '75]

(Goldstein / Lockyer) Another solo effort from me. This time I play my acoustic guitar, as opposed to the previous version, where I had experimented with just voice and Bass. The middle section of the song also shows much change. (067) HELLO LOVER (1) [Aug '75] (Goldstein / Hepper) Howard takes on lead vocals. Richard supplies the acoustic guitar, and I prop up the rear on my 6 string electric, imitating a bass guitar sound. (068) VOODOO LILY (0) [Aug '75] (Goldstein / Hepper / Lockyer) This was more of a session than simply recording an individual track. The venue was Mum's front room. (Vanguard Road) The time was early Saturday afternoon (Aug '75). The rest was mayhem! Howard and Richard had invited a saxophonist friend, Tony Connolly, along for this live recording. I had called up Pete May and Ross Harfield to join us. Ross spent the morning setting up his drum kit - taking over one end of the lounge. There was insufficient room for the rest of the band, so we moved some of the furniture into the garden! It was good to have Ross along on drums. I chose to play rhythm leaving Pete free to have fun on lead guitar. Richard was on bass. Tony Connolly took on tenor and soprano sax. That left Howard Goldstein - the star of the show. Howard pitched himself in the centre of the lounge. Introductions over, this was to be the only performance ever of this particular line-up. With amps and mikes switched, on the only question remaining was .... what should we play? Yes, Howard had thought of that. He gathered up his lyrics, held loosely on scraps of paper, and threw them in the air, once he'd sung a line. Even though his microphone was on, he screamed the words out like a madman, with a deafening result. As for the rest of us, Richard and I set a basic format of one or two chord changes and riffs. The rest is history. We were all content to be the backdrop for the inimitable Mr. Goldstein. The tape recorder shows the original recording to last approximately 1.5 hours. We actually carried on for another hour before, one by one, we finally wilted. I vividly recall the last strains of the final chords. Tony, now working through a belting sax solo, was writhing around the floor, milking every last note when the lounge door opened. Suddenly, my mum appeared, back from her shopping trip. No one had heard her opening the front door. (With the noise we were making we wouldn't have known if a bomb had dropped!) Tony finished the last note, opened his eyes and looked up from the floor. My mother, bending down, uttered the immortal line, "Would you like a cup of tea, dear?" PS. Listen out for my budgie tweeting near the end of the recording. Sadly, it died, not long after.


Chapter 4 - Working for a living – 'Amaze In Space' [Cont.] [Aug '75]

Following the legendary 'Voodoo Lily' session, Howard soon became restless. It was time for another recording. Richard had the idea of spending the imminent Bank Holiday recording an entire album's worth of material. The rules were simple - spontaneity being the key. There were to be minimum overdubs and minimum rehearsals, with the emphasis on maximising creative thoughts and ideas during this 72 hour blitz. We were to turn up, lock the doors, start the tape machine and endeavour to stay awake for the entire period. Richard and I met up for two rehearsals prior to the event. Howard had excelled on many new lyrics and I felt confident about the melody lines and chords. On the Saturday morning I arrived fresh and eager. The venue was Tony Connolly's house, out at the edge of the New Forest. Tony was a music repairer by trade and so by chance, he had an abundance of various instruments littered around the house - obviously in varying states of repair. To my surprise there was an old Fender Telecaster resting there, having just been repaired. I used it on many of the tracks. It's worth stressing here that whilst Richard claimed to be no great musician, from a playing perspective, he certainly had a head full of arrangements and ideas for the complete track listing. He took on the complete role of 'musical producer' for the entire weekend. 'Amaze In Space' Album (23rd-25th Aug '75)

The recordings (Sony TC-252) from that inspirational weekend were as follows:- (069) VAMPIRES (0) [Aug '75]

(Goldstein / Hepper / Lockyer) This was the opening track and what a way to start! The soprano saxophone from Tony throughout is amazing. Richard had the idea of asking me to 'play' piano, in the manic style of John Cale. He actually recorded me while I was in the hallway - with the rest of the band in the lounge. He took this idea from a Captain Beefheart recording on 'Trout Mask Replica'. I only realised that later. A wonderful spirit - one live take - and no overdubbing! (070) THUNDERSTORM (0) [Aug '75]

(Goldstein / Lockyer) It was a good idea to pace ourselves as we knew that fatigue might ruin the last few tracks. Here was a very mellow recording, with Tony playing a wonderful wooden flute solo. Howard sings with a previously unheard 'moodiness' in his voice. (071) EYE OF DISGUST (2) [Aug '75] (Goldstein / Hepper / Lockyer) Lots happening here. I'm on 12-string, flute and vocals. Richard drums on the bongos. Richard's girlfriend, Linda, and Howard's wife, Gloria, add wonderful harmonies. Finally, Equator Dawn, Gloria's little girl, adds a 'chuckle' at the end of the track. (072) COSMIC CORNFLAKES (0) [Aug '75]

(Goldstein / Hepper) Sunday morning was to be an early start. It would've been earlier had Howard not insisted on recording 'Thunderstorm' so late the previous night. We kicked off with this humdinger of a track. Richard plays well on Fender Precision Bass. He stayed completely focused on hitting this particular 'hook' bass line riff. I'm on Fender Telecaster. This song, for me, has it all. A great atmospheric start, crazy vocals from Howard, tremendous lyrics, and with a blistering soprano saxophone belting throughout the song. To cap it all, the ending builds to a sensational crescendo! It's one of my favourites.


Chapter 4 - Working for a living – 'Amaze In Space' [Cont.] [Aug '75]

(073) THE UNBEARABLE HEAT (1) [Aug '75]

(Goldstein / Lockyer) Here I'm on my faithful Eko 12-String guitar. The melody line comes through well. This one takes some beating for style 'cos Howard and I had two or three runs through before Tony joined us. He hadn't heard this song before and was already showing signs of fatigue. All he wanted was the key the song was in and a 'nod' when we needed the improvised solo! The solo was absolutely breathtaking. He was such a professional. (074) THE MENTAL SURGEON (0) [Aug '75]

(Goldstein / Hepper) Late on into the weekend and the band were still buzzing. Richard excelled on this one with his eccentric chord playing. Richard hadn't played electric guitar before now, but that wasn't going to stop him! I turn to the bass guitar here. Those John Cale influences are mixed in there once more, with another good fun ending. (075) MAGIC CARPET (0) [Aug '75]

(Goldstein / Hepper) Again, me on bass and Richard on jangly lead guitar. Gloria is with Howard on vocals, with Tony giving full whack on saxophone. This time, Tony decided to play two saxophones at the same time. (Soprano and Alto) The other interesting 'twist' was Tony playing Eastern musical scales throughout. He put that down to the 'Arabian nights' title of the song. (076) HELLO LOVER (2) [Aug '75]

(Goldstein / Hepper) Back to my 12-string with Tony continuing his Eastern musical vein! A good groove as they say. (077) AMAZE IN SPACE (0) [Aug '75] (Goldstein / Hepper / Lockyer) Came the Monday and everyone agreed that it had gone well. Howard wanted one more for the set. This one, written in May '75, summed up the mood at the close of play. I kept faith with my 12-string and Richard kept the atmosphere going by playing one note throughout on harmonica. The result was this very eerie and moody sombre piece. It was a good way to end the album and a fine way to end the weekend. ..... Following the weekend escapade, I cut and spliced the tapes and assembled a cassette album's worth of material. Yes, we had succeeded in meeting Richard's objective - an album recorded in one weekend. A significant achievement. I have to say, listening back, that some of these tracks have proved to remain some of my favourite recordings I've ever made. I'm immensely proud of the fact that we did achieve all that in such a short space of time.


Chapter 4 - Working for a living – End of an Era II [Sep '75]

By the end of the first week of September I'd made several copies of the 'Amaze in Space' cassette

album. So what next? Well, next it was time for me to give my minimum one week 'notice' at work, at the 'Hants & Dorset'. I left on Tuesday 23rd Sep '75, and after two days of packing and final arrangements, I arrived at Wrexham, North Wales on Friday 26th. Of course, some eight months before, when I knew this day would come, it seemed such an easy thing to do. However, the present day situation was now so different. I loved my work, and was having a ball, whilst my song writing and recording was equally giving me great satisfaction. I actually contemplated giving up the idea of going back to College, and maybe staying there in Southampton. However, common sense prevailed, and I sadly told my colleagues, including Richard and Howard of my leaving. Howard was very 'down' about the situation and asked for one last favour. Would I 'trawl' around the London Record companies with him, to try and get some 'take up' of the songs we'd written and recorded. I agreed, even though neither of us had any experience of visiting A&R guys. For anyone who has ever tried to find overnight success through this method, my heart goes out to you. They say it is 'character building stuff' having professional critics politely tell you your songs are 'not there'. (Not once, but many times!) Our songs had a very real, 'punk' sound to them. (2 years too soon) They were raw and aggressive, but in no way marketable or radio-list playable, etc. Our crude, foot-in-the-door approach served us well enough to meet Richard Williams. I recognised him from his DISCO 2 and Old Grey Whistle Test appearances via the television, some years before. Howard was having a rough time coping with his comments. He tore into the songs, criticising heavily. Now this is what you expect to hear (if you're well-prepared) but it nevertheless was still very deflating. There was, however, one good piece of news. Howard and I managed to get into London's Capitol Radio to meet up with Nicky Horne. He had a radio show at the time called "Your Mother Wouldn't Like It". We thought

that would be perfect for our songs. Well, it was, 'cos he played our opening track, 'Vampires' on his late night show. And finally, a word or two about my then, current musical thinking as this 'End of an Era II' came to its close. I've already commented on how 1975 began so brightly, with my purchasing the John Martyn album, 'Sunday's Child' (Jan '75). February was better still. Along came one of Bob Dylan's greatest recordings, 'Blood On The Tracks' (Feb '75), swiftly followed by 'The Basement Tapes' (Jul '75). In between time, 10CC came out with their masterpiece, 'The Original Soundtrack' (Mar '75). However, by

the end of that summer, I had absorbed those earlier albums, recommended by Richard Hepper:- Captain Beefheart - 'Trout Mask Replica' (Nov '69) and 'Bluejeans & Moonbeams' (Nov '74) Jefferson Airplane - 'Surrealistic Pillow' (Sep '67) and 'After Bathing at Baxters' (Jun '68] Lou Reed - 'Transformer' (Nov '72) and 'Berlin' (Oct '73) ENO - 'Here Come The Warm Jets' (Jun '74) and 'Taking Tiger Mountain by Strategy' (Nov '74) Roxy Music - 'Country Life' (Nov '74) Terry Reid - 'Terry Reid' ( '69) including 'Stay With Me Baby' Phil Manzanera - Diamond Head (May '75) and of course ..... John Cale - 'Paris 1919' (Mar '73), 'Fear' (Sep '74) and 'Slow Dazzle' (Apr '75) [The LIVE rendition of 'Heartbreak Hotel' performed by John Cale, at Southampton University (10 May '75) has to be of the greatest performances I've ever witnessed!] ..... Yes, it's true to say that by the end of that summer, my musical tastes and direction had been dramatically altered. I was now a different person!


Chapter 5

Teacher Training

[Oct ’75 – Jul ‘78]


Chapter 5 - Teacher Training – New Friends [Oct '75 - Dec '75]

It was time for me to shake several hands and say goodbye to Southampton as I headed 'up North' to Wrexham. Of interest, my long time song writing partner, Pete May, was also leaving Southampton. He, too, had opted to move back into 'Full Time Education'. However, for Pete, he was off to Worcester College. My diary tells me I arrived at 112 Norman Road, Wrexham on Friday 26th Sep '75. The new College enrolment was to start on Monday, 29th. That gave me the weekend to get acquainted with my new room-mates at this large, College rented house, some 20 minutes walk from the campus. I guess it's fair to say that I hadn't expected to meet so many colourful characters in so short a space of time - especially having just said 'au revoir' to my last eight months of 'wild' times, back in Southampton. However, that is exactly what lay in store. 'Hello' to my new pals:- Dave Retter, Andy Stapely, Ted Moxham, Dai Hansen, Stephen Pritchard, Dewi Morris, Tony ?, and Duncan ?

One of them, I can't remember which, helped me carry my very large 'wooden packing chest' up one flight of stairs to my room. I couldn't leave Southampton without the Sony TC-252 tape recorder, or my Electric and Acoustic guitars .... or my small 'amp' .... Oh, and some clothes. Inside week one, on return to the house, after lectures, Ted Moxham would have 'Roxy Music' blaring out from the record player. It was a good job we all thought they were great! I also recall by the end of week one, we had spent every evening downing much good Border ale and Wrexham lager. My next three years were to leave me blurry-eyed, but full of so many great memories. Listening to music and evenings out did seem to fill the calendar, but the daytime hours were well spent in settling in and getting acquainted with my Business Studies colleagues. It didn't take long to find the College Student's Union Bar and general meeting areas. The Union Bar, along with the Old Drama Hall, would prove to become two excellent venues to watch a great variety of bands during those three years. However, for 'starters', I was content to make a long hitch-hike journey away from the College, to watch a truly great band coming to the end of their then announced 'final' UK tour. The band were Roxy Music, and it was Dave Retter and I who hitched to see them at the Bingley Hall, Birmingham on 23rd Oct, 1975. (I don't why Ted didn't come along) The gig was truly amazing! Within a few weeks I took another opportunity to 'skip town' and visit Pete May, at his Teacher Training College at Worcester. This was the half term for me, mid November, and Pete and I had some laughs comparing notes on the two establishments. Pete had already met up with a new pal, and quickly introduced me to Jacky Luke. During those few days I was also able to meet up with Hazel Edmondson and her pal, Jan Barber. I knew Hazel from my Southampton days. Here, she was in her 3rd Year. Once back at Norman Road, I benefitted from hearing the new Roxy album, 'Siren', purchased by Ted on its day of release. I followed by purchasing John Cale's 'Helen of Troy' and Bob Marley's 'Natty Dread' in quick succession. All was well in the household. 112 Norman Road, Wrexham Dick, Ted, Dewi, Andy (+ pillow) Me, aged 21 (Dec '75)


Chapter 5 - Teacher Training – Settled [Jan '76 - Mar '76]

I don't recall the Christmas '75 period being too memorable, other than the release of the Queen single, 'Bohemian Rhapsody'. The accompanying video was to herald the dawn of the 'music video age'. I must admit, it didn't do a lot for me. I've always preferred to let the music stand or fall on its own merit. However, back to the plot - it was time to return to Wrexham. Within a few weeks of being back I'd met a gorgeous young thing, Rosalyn Caulfield (Feb '76), later to become my wife! Ros was already in her final year, so we only shared the following two terms together at Cartrefle. I recall our first 'date' was a visit to watch my hometown football team, Southampton, in the FA Cup match, away to West Bromwich Albion. (17 Feb '76) How romantic. Little was I to know that Southampton would go on to win the FA Cup that year, for the first time in their history. By coincidence, I then met a fellow 'Saint' at the College. His name was Simon Bothwell. We were so impressed with the

'Saints' winning that earlier replay, that we planned a visit to see them play away at Bradford, in the following round. (6 Mar '76) Continuing the football theme, Dave Retter and I had managed to join the College soccer team, albeit as 'reserve' material. The minimum games played mattered little, as we enjoyed the acquaintances of an additional circle of pals. I recall both Dave and I being part of a very successful Welsh Cup run that year. The team played fantastically well to reach the Semi Finals, only to lose 1-0 away to Bangor Normal College. The dream was good whilst alive.

Back to the music, ... and now to an interesting observation. Prior to Wrexham, I had been 'fed' my diet of pop music and chart music via the radio, and the classic TV shows of the day. (Old Grey Whistle, TOTP etc.) Word of mouth, and peer group recommendations also came high on the list. Yet, for the following three years I was to find that the TV and Radio were a non-show in my life. I simply wasn't around in the Norman Road house to watch any TV. Life on campus was full enough. Therefore, it's fair to say that my musical tastes altered little during those three years, as I faithfully lapped up new material from my old favourite artists. That brings me neatly to my purchase of Bob Dylan's 'Desire' album in that January '76. I purchased the

album on cassette, and played it incessantly. I also found much time to listen to the new Gallagher & Lyle album, 'Breakaway'. (Feb '76) Another classic. This period proved to be very 'settling' for me. I held my

new North Wales surroundings in high regard, and looked upon it as 'home'. That inevitably led me to reach for my guitar, and Sony tape recorder, to write some new material. (078) WREXHAM ROUND (0) [Mar '76] (Lockyer) This was an instrumental track, and proved to be instrumental in getting me back into recording on the Sony TC-252. It was good to record again. It had been six months since I'd last made that effort. (079) END OF TERM (1) [Mar '76] (Lockyer) These were special times at College, and I knew they'd soon be gone. It's all too easy to lose touch with your pals once College days are over, and the idea of writing a song about meeting people within a fixed time period, and then saying goodbye, came to mind. Even though there were a good two years remaining, I decided to write this song there and then, rather than wait and possibly lose the moment. I'm glad I did. The track is very laid back, with me enjoying some lead guitar over some very simple lush 12 string chords. The 'Lady' in the song was a reference to a lovely girl from Leicester, whom I'd met whilst hitching to France on my ill-fated trip, back in 1974. Maybe one day I'll re-record this song with some additional lyric?


Chapter 5 - Teacher Training – Settled [Cont.] [Apr '76 - May '76]

The Easter break came, and I returned to Southampton. Very fortunately for me, Mum worked for the Social Services Group in Southampton, and 'put in the word' for me within their divisional group. That allowed me the luxury of working there for the entire Easter 3 to 4 week period - and thus meant I could top up my bank savings prior to returning to Wrexham. The full student grant was actually very reasonable, but this was a great opportunity to bank a bit extra! However, I did manage to find a spare weekend to see 'Saints' continue that cup run, seeing them beat Crystal Palace 2-0, at the Semi Final at Stamford Bridge. (3rd Apr '76) Of course, my return to Wrexham (mid April) left me little time to secure my Cup Final ticket. However, luck prevailed and I was able to get to Wembley, with Ros, to see them victorious against Manchester United, 1-0. (1st May '76) What a memory! That May '76, also marked my making the acquaintance of Gareth Williams. I had been 'messing

around' in the College Recording Studio late one evening, when Gareth popped his head around the door and asked, "Do you need a drummer?" (080) HEADING FOR THOSE BRIGHT LIGHTS (0) [May '76] (Lockyer) I never actually finished this song. I don't know why 'cos I've always liked the melody. I guess I was too busy with so many College distractions! I teamed up with my new pal, Gareth Williams, who was an extremely talented drummer. On this track he was unfortunately reduced to 'handclaps' - he'd left his drums at home in Porthmadog. Campus Student Halls of Residence Gareth Williams (minus drum kit)

(081) PENNIES (0) [May '76]

(Lockyer) Gareth was again assisting on percussion. This time he used an upturned waste bin as an improvised 'tom' sound. (He is still without his drums at this stage) The balance of the track 'bounces' was not too good here. Hence, the instruments all sound 'far back' other than the distorted lead guitar line, which was the last part to be recorded. Still, not to worry, it's still a cute little instrumental. ..... and the other percussive sound? That's me clicking two old 'pennies' together.


Chapter 5 - Teacher Training – Settled [Cont.] [Jun '76 - Aug '76]

Teaching Practice time had arrived. Of course this was the reason for the Training, so there seemed to be more of a serious feel about the College. For me, I'd been assigned to spend four weeks at the 'John Bright Secondary School', Llandudno (11 - 18 Year old) It all seemed a little surreal as I spent hours

grinding out 'lesson plans, whilst the town was full of tourists, wandering along the seaside promenade, enjoying that blistering hot summer of '76. My 'digs' were good, and the landlady was very kind. She suggested I invite my girlfriend, Ros, to spend my last week there at the digs, to enjoy the seaside town. Ros had finished her final exams and was keen on the idea. I recall my final week of Teaching Practice being one of balancing the 'day job' at school, with evenings out with Ros, as if we were on some foreign vacation! Very bizarre. And what of my musical listening at this stage? Yes, it's time for an update on the 'happening' sounds and albums of that era. I remember spending much time listening to an older album from Ros' collection, namely '3+3' by the 'Isley Brothers' ('73). I'd not been heavily into this album before, but here I was enjoying those classic tracks "That Lady" and "Summer Breeze". I also recall buying 'Nils Lofgren' "Cry Tough" (Apr '76). I already knew of him as a great backing

guitarist for Neil Young, but now I marvelled at his own singing and writing talents. A very underrated artist. Yes, at the end of that Cartrefle Year I, my thoughts were of being very 'chilled out', and very happy. Me & Ros Caulfield (Jun '76) Llandudno, North Wales

Prior to arriving home at Southampton, I 'stopped off' for a few days at Newcastle-Under-Lyme, Stoke, to meet Ros' parents for the first time. Whilst there Ros and I saw a great live gig at the Victoria Hall, Hanley. (Jul '76) The band, 'Colosseum II', formed by the drummer Jon Hiseman featured Gary Moore on lead guitar. Wow. This was my kind of music. Oh, how I remember Ros saying after the concert, how much she detested this style of music, and she'd only gone to please me. I did smile. Within a few days I was back in Southampton, and busy preparing rucksacks and maps. Ros was due to visit me there within a fortnight, prior to us setting off for a 'hitching' holiday across France. We took the 'Townsend Thoreson' ferry from Southampton to Le Havre, and then followed our 'nose', ... and the maps ... and our 'thumbs'. We had some fun during those two weeks. No sooner back, and feeling good and re-charged, I was ready to return to my 'temporary' work for Southampton Social Services. This time I had an eight week contract, which took me through the whole of August / September '76. It did wonders for my bank balance. Of course, being back in Southampton, it was also time to check out progress with Pete May. Pete had started some temporary work at an archaeological 'dig' at Southampton City Centre. Unfortunately, he suffered a compound fracture of the spine, and spent two weeks in hospital recuperating. As soon as was practicable, we met up to record some new music.


Chapter 5 - Teacher Training – Heat-Wave Summer [Aug '76 - Sep '76]

(082) CAROLINE (0) [Aug '76]

(Lockyer / May) To ease us back into recording, Pete and I quickly produced this cute instrumental. Pete takes up the acoustic rhythm, with me picking up the lead melody lines. Over the years, I've always referred to this track as the 'Westerman Solo', due to our good pal, Dave Westerman, saying how much he loved it. Pete has always referred to it by the bizarre title 'RCR 270', that being the car number plate of his then current girlfriend, since Feb '76, Caroline Coleman. It seems a good compromise to refer to it as 'Caroline' (083) SOMETIMES YOU WONDER (1) [Aug '76] (Lockyer / May) So there we were at Beauworth Avenue, ready to write a new song, for the first time in over a year. After a short time, we agreed to revisit an old song which had never really seen the 'light of day'. During November '72, we had begun a song named 'The Hiker'. We had always loved the opening chord sequence, but we'd never really gone that far with any solid lyric. Yes, this seemed like a good starting point. We re-worked the chords for a middle section and spent some time on the lyrics. That was unusual for us, but maybe a sign of how we had matured during the previous year. I recall the final stumbling block being the final verse. By then we had really fallen in love with the song and we were keen to start recording. In desperation, I took some lyric ideas from a classic Dylan track and re-worked them ... just a little. Now it was time to record, and we decided to really go for something new. Using the Sound on Sound features of the Sony tape recorder, we 'layered' some 'sections' from a BBC sound effects record, and added my classical guitar over some rolling, lush 12-string chords. This was beginning to sound very good. I recall us spending a good 3-4 hours of recording time on this, and we were extremely pleased with the finished result. However, interestingly enough, whilst Pete and I have often played this song, in and out of various bands over the years, I believe we've never really been content with the middle-eight section. As such, we took up an offer many years later (1995) from a good musician friend, who re-wrote the bridge section and re-recorded the song with us. I believe that to now be the definitive version of this song. Of academic interest - I used my original classical guitar for the last time on this recording. On a subsequent recording I switched over to electric guitar for the lead lines - but it never quite sounded the same. ..... recording over, I returned to my temporary Social Services work, but not before I met up with my sister, Carol to get her reaction to the new recording. It quickly became her favourite of our songs. She loved it. This particular version always holds great memories for me. I always think of her whenever I hear it. Simon (3.25), Carol (27.5), Samantha (0.5) (Summer '76) Carol (25.5), Simon (1.25) (Summer '74)

Finally, during mid-September '76, I took a long weekend to travel to Theydon Bois, Essex, to help Ros settle into her 'digs', as she prepared to start work at St John Fisher Primary School, Loughton, Essex. I knew it would be a little strange returning to Wrexham knowing she wouldn't be there.


Chapter 5 - Teacher Training – Keep Music Live [Sep '76]

I've marked this section down as [Sep '76], when in fact it refers to all three years spent at Cartrefle College. My reasoning is that it seems more logical to group all of the 'Live' gigs and acts together, in one area, for easy reference. That also allows for continuity for the rest of my memories. So, what is this section? It's fair to say that Cartrefle College wasn't one of the bigger named educational institutions in the country. However, any shortfall in Student social funding, or lack of top rate facilities were more than compensated by its students' enthusiasm and spirit of 'togetherness'. Thus, throughout those three years I never felt that we were poorly served in the way of the 'Live' music on view. Much credit has to go to two guys in particular, namely Alan Sullivan and Phil Trotter. Between these two, the Student's Union and the Drama Hall showcased some of the finest rock and folk acts you'd ever wish to see. Alan Sullivan (Social Secretary) Phil Trotter (College DJ)

The following list is a reminder of some of the acts that appeared at Cartrefle, and sometimes at the nearby Tivoli Ballroom, at Buckley, North Wales. The list is LOOSELY based in chronological order - I was unable to find anyone, me included, who could accurately recall dates and specific details. With the amount of alcohol consumed during those times, that's not surprising. Band/Artist: TEA Approx Date played: Oct-Dec '75 Formed: 1971 Switzeland, last gig '77 (reformed 2009 ...) Members: Turo Pashayan (Bass), Roli Eggli (Drums), Armand Volker (Gtr), Marc Storace (Voc) LPs: 1st LP '74 / Single "Good Times" '74 / LP "The Ship" '75 / Single "Summer In The City" '75, 3rd LP "Tax Exile" '76 Other: Toured Uk '75 / Swiss' Top Rock Band '76 / Toured UK '76 as Headliners Band/Artist: MOTHER SUPERIOR Approx Date played: Oct-Dec '75

Formed: 1975, disbanded '76 Members: Leslie Sly (Keys, Voc), Jackie Crew (Drums), Audrey Swinburne (Gtr, Voc), Jackie Badger (Bass, Voc) LPs: Title unknown ('75) Other: UK All girl Rock group Band/Artist: GOOD HABIT Approx Date played: Oct - Dec '75

Formed: early 70s, disbanded end of '75 to become 'RACING CARS' early '76 Members: Graham Williams (Gtr, Voc), Morty ? (Lead Voc) LPs: ? Other: RACING CARS had '77 hit "They Shoot Horses Don't They"


Chapter 5 - Teacher Training – Keep Music Live [Cont.] [Sep '76]

Band/Artist: THE CHANTS Approx Date played: Oct - Dec '75

Formed: Early 60s Liverpool, Toxteth, disbanded '75, Eddie Amoo formed 'REAL THING' 1976 Members: Jo & Eddie Ankrah, Nat Smeda, Alan Harding, Edmund Ahoo LPs: Single: "You To Me Are Everything" Jun '76 (THE REAL THING) Other: Soul vocalists Backed BY The Beatles on the Chant's Cavern Club Debut !! Band/Artist: SASSAFRAS Approx Date played: Oct '75 - Dec '76 Formed: 1970, Liverpool Members: Ricky John Holt (Bass), Rob Reynolds (Drums) joined (1971) by Dai Shell (Gtr), Terry Bennett (Voc, Tambourine), Ralph Evans (?), Steve Finn (?) LPs: "Riding High" ('75) / "Small Town Talk" (??) Other: Played storming version of "I Am The Walrus" at Cartrefle College Band/Artist: SILLY WIZARD Approx Date played: Oct '76 - Dec '77 Formed: Edinburgh '71, last gig Apr '88 Members: Gordon James (Gtr, Voc), Bob Thomas (Gtr, Banjo), John Cunningham (fiddle, Voc), Chris Pritchard (Voc), Phil Cunningham (Accordion) joined late '76 LPs: "Silly Wizard" (summer '75), "Caledonia's Hardy Sons" '77 Other: Folk/Rock Band/Artist: SUPERCHARGE Approx Date played: lots Formed: early '74, Liverpool Members: Albie Donnelly (Sax Voc), Dave Irving (Drums), ... LPs: "Between Music and Madness" ('74) "Local Lads Make Good" ('76) / Single "Get Up And Dance", "Horizontal Refreshment" ('77) Other: Single made #3, Australia '77 Band/Artist: EDISON LIGHTHOUSE Approx Date played: xx Formed: 1970 from studio session musicians, Tony Burrows (Voc), Stuart Edwards (Gtr), David Taylor (Bass), George Weyman (Drums), Ray Daley (Gtr) - Producers Macauley / Mason broke up this band and formed new band with same name 1971. Members: new band: Paul Vigrass (Voc), Andy Locke (Gtr), David Kerr-Clemenson (Bass), Eddy Richards (Drums), Wally Scott (Gtr) LPs: Single: "Love Grows ....." No.1 (1970) Other: Band/Artist: SHAKIN' STEVENS & THE SUNSETS Approx Date played: xx Formed: Cardiff '69, last gig Woolwich, London 25/10/1977. Members: Paul Barratt (Manager), Rockin Louie (Drums), Steve Percy (Bass), Carl Peterson (Gtr), Paul Dolan (Sax), Michael Barratt (Shaky Stevens - Vocals) LPs: "A Legend" '70, "I'm No J. D." ('71) Other: Played 'Quaintways', Chester (8/9/75) / possibly going down ball yr 1 or 2 (old drama hall) Band/Artist: PATCHWORK Approx Date played: xx Formed: Local Wrexham band, Cefn area, ('75-'79) Members: Chris Wright, Gary Hughes, Ken Matthews, Graham Roberts LPs: Unlucky For Some Other: Chris Wright moved onto band 'Baby Blue' Band/Artist: BOB WILLIAMSON Approx Date played: xx

Formed: Folk/Comedian from Bolton started early 70s LPs: "Superturn" / "Greatest Hits Vol 6" / "Still Hazy After All These Beers" Other: Retired through ill-health.


Chapter 5 - Teacher Training – Keep Music Live [Cont.] [Sep '76]

Band/Artist: PAUL DOWNES / PHIL BEER Approx Date played: xx Formed: became duo '74 Members: LPs: 'Life Ain't Worth Living' ('73), 'Dance Without Music' ('76), Phil Beer (Mandoline '78) Other: Folk band Band/Artist: NUTZ Approx Date played: Oct '75 - Jun '78

Formed: 1973 Liverpool, disbanded 1981. Members: Mick Davenport (Gtr), John Mylett (Drums), Keith Mulholand (Bass), David Lloyd (Voc) Kenny Newton (Keys) (mid-'77) LPs: A&M debut "NUTZ" '74 / "Nutz Too" '75 / "Hard Nutz" '77 / "Nutz Live Cutz" '78 Other: Rock band - Established residency at Cavern Club / Support tour Black Sabbath (Mar '77) Band/Artist: KILBURN & THE HIGHROADS Approx Date played: Drama Hall, Yr 2

Formed: Nov '70, disbanded '76 Members: Ian Dury (Voc), Russell Hardy (Piano) LPs: Handsome ('75), Wotabunch ('77) Other: Last gig for 'Ian Dury & The Kilburns' (17/6/76) / 'Ian Dury & Blockheads' released 'New Boots & Panties' (30/9/77) Band/Artist: KRAZY KAT Approx Date played: Oct '76 - Jun '78

Formed: following breakup of "Christie" '75, Members: Tony Ferguson (Ld Gtr), Grahame White (Gtr, Lute), Roger Willis (Drums), Roger Flavell LPs: "China Seas" '76, "Troubled Air" '77 Other: UK Guitar Rock sextet / started early 70s as 'Capability Brown' prior to 'Christie' '74 Band/Artist: XTC Date played: 9 Nov 1977 Formed: '76 Swindon. Unofficially disbanded 2005 Members: Andy Partridge (Gtr Voc), Colin Moulding (Bass Voc), Terry Chambers (Drums), Barry Andrews (Keys) LPs: White Music ('78), Go 2 ('78), Drums and Wires ('79), Black Sea ('80), ... Other: Band/Artist: LITTLE BOB STORY Approx Date played: 1978 Formed: Belgium / France: 1974. Disbanded 1989. Reformed .. ?? Members: Roberto Piazza (Little Bob) (Voc), Fred Lemarchand (Bass), Yves Chouard (Gtr), Joel Drouin (Piano) LPs: High Time ('76), Living In The Fast Lane ('77), Come See Me ('78), Light On My Town ('80) Other: performed great version of 'All Or Nothing' at Cartrefle (from album 'Living in the Fast Lane') Band/Artist: CITY BOY Date played: Jun '78 Formed: turned Pro late '75, disbanded '82 Members: Lol Mason (Voc), Steve Broughton (Gtr), Max Thomas (Keys), Chris Dunn (Bass), Roger Kent (Drums) LPs: "City Boy" '76, "Dinner at the Ritz" '76, Young Men Gone West" '77, Single: "5-7-0-5" (#8, Jul '78) Other: played Cartrefle a few weeks before single scored in charts


Chapter 5 - Teacher Training – Year II [Oct '76 - Nov '76]

Back in 112 Norman Road, for Year II ..... but what of the other guys from the house? Dai Hansen and Andy Stapley had already arranged to move onto campus for Year II. Ted Moxham chose to move into rented 'digs', but within a matter of weeks he switched to a room on campus. Dave Retter found 'digs' in the town, which was cheaper than staying in College accommodation. For me, I found the house at Norman Road to my liking, and was happy to stay put for another year. However, I was now in a single room, whilst the new Year I intake took over the larger shared rooms. Handshakes and introductions to my new housemates quickly followed. Then it was time to unpack my guitars and tape recorder once again! (084) COLLEGE TUNE (0) [Oct '76]

(Lockyer) This was another instrumental designed to get me back into the 'groove' of recording. Yes, back at Norman Road and checking out the Sony Tape Machine, after unpacking my things, it was time to pick up my 12-String and Electric guitars and start doodling. ..... In a similar re-run of Year I, I also chose to spend the half-term (Oct '76) visiting Pete May at Worcester College. This time, Ros and I met up to make the journey together. She was finding it hard going in her first teaching year and needed the 'break'. I already had a good 'feel' of Pete's College environment from my 'first year' visit there. This time I met up with his new pals at Worcester. Pete had formed a College band, 'FairIsle', with Kevin Bailey and Gary Booth. This was a relaxing few days for me and Ros, and during Ros' 'chill out' time we also met Pete's

new flame, Caroline Coleman. Pete had met up with her some months before, (Feb '76), but this was my first meeting with her. Yes, this was time well spent, but unfortunately within days of Ros' return to Essex, she was again unhappy. Anecdote Time: (Nov '76) Ros and I were now spending much time on long distance telephone calls as she was seriously depressed down in Essex. She was fine during school time - it was the strict landlady, Maimie Squires, and those lonely evenings, at her 'digs', in Theydon Bois that were getting to her. After one particular 6.00 pm phone call, I left a tearful Ros, and within 10 minutes I was clutching a British Rail ticket for London. Connections being what they were, I arrived at her digs (Theydon Bois) at 10.30p.m. We managed 'last orders' at the local pub and then I walked Ros home. I'd assumed that I'd stay over and catch the early morning train back. (Foolish eh?) Ros' landlady certainly lived up to her strict image and refused to let me stay. To keep the peace and to calm Ros, ... yes, at approx. 11.30 pm, I set off for the journey home. Tube station to Euston - no problem. Euston to Wrexham - no chance. I'd missed the last train North so I waited for the Night Mail Train and simply boarded it asking no questions. However, its last stop was Wolverhampton and bearing in mind this was a very cold November, I spent the remainder of the night trying to sleep on a platform bench. By 5.00 a.m. the following morning, I began hitching in the dark. Four 'lifts' later, and looking like a tramp, I arrived back at Norman Road in time to catch my new 'house' pals chewing over morning tea and toast. They'd had a great time down the pub the night before. (085) ROS' SONG (0) [Nov '76] (Lockyer) A pretty melody, with some 'cute' 12-String finger picking accompaniment. The lyric remains unfinished, as once again I end up repeating a verse, merely to finish the recording, for fear of forgetting the melody. This is another example of a song which could benefit from some future re-work? ..... or maybe not.


Chapter 5 - Teacher Training – Year II [Cont.] [Dec '76 - May '77]

Onto December '76, and what of the music scene? History will show this period to herald the start of the 'UK PUNK MUSIC' era, but at the time it appeared to be more about 'PUNK' newspaper headlines rather than great music. Clearly, the main band, from a 'news' perspective, were the 'Sex Pistols'. Their 'four'

letter, live TV ranting during an ITV News documentary caused the immediate sacking of the broadcaster, Bill Grundy. (Dec '76) In reality, the movement was a backlash, by young musicians, against the self promoting excesses of the 'muso supergroups', who would fill large stadiums playing tracks of 30-40 minutes duration, full of very long guitar and keyboard 'jamming' solos etc. The New York 'Punk' scene saw 'The Ramones' ('74) and 'Patti Smith' getting back to raw, rocky, 3 minute songs, playing to small groups of fans in tiny bars! OK, back to the UK, and the history books. The Sex Pistols had already started their first tour, with 'The Clash' and 'The Damned' during '76. However, it was the period Jan - Apr '77, that saw the first serious

entries in the UK music charts by these bands. Of course, the UK charts were also full of tracks like, 'Don't Give Up On Us' (David Soul - Jan '77), and 'When I Need You' (Leo Sayer - Feb '77). I must admit, both extremes of these styles did little for me at the time. Yes, I was simply content to buy '801 Live' by 'Phil Manzanera' (Dec '76). This was a great album from the ex-Roxy Music guitarist. It's probably fair to say that my musical tastes were still held in that John Cale, Roxy, Velvet Underground time warp! However, as for my own compositions, I was a little 'hooked' on writing gentle melodies and 'twee' lyrics, mirroring my thoughts of being so far away from Ros. (086) CAN'T EXPLAIN (0) [Feb '77] (Lockyer) I was always pleased with my guitar playing on this one. For a 12-string, the finger-pickin' comes out quite well. (But then I would say that, wouldn't I?) And the lyrics ..... again, another example of using the first words that spring to mind merely to record the melody line before the moment is lost. Clearly, the plan was to return and draft a fresh set of lyrics, but somehow that never seems to happen. (087) TIME DRAGS BY (0) [Mar '77]

(Lockyer) There were some tasty chord changes along route on this one, with my flute used to add to the arrangement. The lyrics do seem to be a little muddled .... I'm not actually sure of their meaning myself. However, I do remember it was built around a number of smaller lyric ideas that I hoped might fit together. Maybe that idea didn't quite work as planned. ..... So, with the Sony recorder placed to one side it was Easter '77, and time to return to Southampton, to start up another temporary 3 week contract within the 'Social Services'. I met up with Pete May, albeit briefly, and we discussed the idea of recording and producing a 'Single'. (More of this shortly ...) Other than that, the Easter break simply came and went, and I was soon back in North Wales. Upon my return, and after one week of preparation, I was ready for Teaching Practice Year II. This time it was to be four weeks at 'Blurton High' secondary school, Stoke-On-Trent. (24 Apr - 20 May '77) Those four weeks weren't particularly memorable - more of a 'grinding out' process! However, just before that four week stint at Stoke, I enjoyed a great 'Recording Weekend' at the College, with Pete May and his pals.


Chapter 5 - Teacher Training – Year II [Cont.] [May '77]

THE SINGLE & FAIRISLE [Early May '77]

Returning briefly to that Easter break at Southampton, Pete and I had met up to chat about musical progress. Pete had continued to perform College gigs with his two pals, Kevin Bailey and Gary Booth, whom I'd met during the previous October '76. They were collectively known as the band, 'FAIRISLE'. I explained that Gareth and I were about to 'launch' our College band. Together, we explored the possibility of combining the two groups to record a 'Single', for subsequent sale at both Colleges. We realised that we would have a reasonably loyal and solid 'fan/customer base' and began to cost out the idea. We planned on selling 300-400 copies each to our respective college pals. 600-800 copies at 50p each would yield between £300 to £400. We were quoted a cost of £200 for 'pressing' a 1,000 record minimum run. These initial figures meant that we could possibly make a small profit, enabling us to top up our student grant. I would take the lead vocals for the 'A' side, with Pete and his band taking the 'B' side. This way, each college fraternity would at least know half of us! We also decided to use the band name, FairIsle, as Pete and his pals were already known in Worcester under that name. And the location for the recording venue? I knew that the studio I'd been using at Cartrefle was well soundproofed, and would be empty during a weekend period. We agreed to meet up during that May, at Wrexham. Pete, Kevin and Gary arrived on a Saturday afternoon 'Coach' from Worcester, with guitars in hand. We set up in the College Recording Studio; rehearsed and completed two tracks. Me [Recording "Single" at Wrexham] Pete May

Gary Booth [with Pete's Epiphone] Kevin Bailey [with my 'EKO']


Chapter 5 - Teacher Training – Year II [Cont.] [May '77]

(088) WHEN SOMEONE LEAVES YOU (2) [May '77]

(Lockyer / May) Pete and I had already decided on using this track as the 'A' side, during that Easter break. We were both so pleased with our earlier recording of 'Sometimes You Wonder', (Aug '76), that we felt there was little point in trying to improve upon that song. However, we both liked this track, taken from (Feb '75), and agreed that it could do with a fresh re-recording. This track itself, left me wanting a little more, but I believe that was down to us never have played as a five-piece together before. Yes, Gareth Williams was there during the recording, adding percussion. I've no idea why he doesn't appear in any photos of the session. (089) EARLY MORNING SINGING BLUES TIME (0) [May '77]

(Gary Booth) The B side happened remarkably quickly and has more of a band feel about. Kevin, Gary and Pete had rehearsed and played this song many times together in their own band. They were into this - and it showed. Reverb / Echo Unit (make unknown) Ferrograph 1/2 Track Stereo Series 6

Note: I've put images of the A and B sides above, alongside the date of recording (May '77). In reality, there was a lengthy delay at the Phonogram pressing plant in London, and it was to be October '77 before we were able to finally distribute the discs to our loyal and patient fans.


Chapter 5 - Teacher Training – Year II [Cont.] [Jun '77]

PUNK NIGHT - THE CASTRATORS [Jun '77]

Immediately following the recording of the 'Single', with the FairIsle lads, Gareth and I set about rehearsing for our own College 'debut'. The idea was to select a musical 'theme', and have the audience 'dress up' in matching costume. This way, everyone was already intent on having a good 'night out' in the Student Union Bar, even before the band had begun! [Of note: This was an idea we repeated on a few further occasions, to great effect] Well, the chosen musical 'theme' was for a PUNK night. In hindsight, this has proved to be an interesting choice. Jan '77 had begun with the Sex Pistols making all the newspaper headlines, for various reasons, and the following months generally saw the emergence of the early Punk bands. In reality, it was the latter months of '77 that saw the PUNK movement actually mark its place as a defining moment in UK Music. This had an effect on us with regard to rehearsals, because here was actually very little Punk music to copy! We therefore chose suitable 'RnB' and Rock tracks, giving them a rough, course edge, to accompany the boisterous, well suited and 'costumed' crowd. Gareth and I added to our ranks by enlisting Alan Sullivan, the Social Secretary, on Bass guitar, and Steve Pritchard, on lead vocals. Along with a classic menacing name, 'THE CASTRATORS', we gave it our all, and a great time was had by one and all. Unfortunately, there were no recordings made on that wonderful night, but the photographs live on. To be perfectly honest I can't remember much about the music from start to finish - but the next day everyone told me I'd had a great time. Me, aged 23 (Jun '77) Steve Pritchard Gareth Williams

Cherie Spiller, Kay Oxenham, Pam Davies, Alan Sullivan, Gareth Williams Jan Jones (our fan base: The CASTANETTES)


Chapter 5 - Teacher Training – Year II [Cont.] [Jun '77]

MICK CONTI, LYNNE KEATINGE & ME [Jun '77]

With the end of the second year rapidly approaching I was asked, by two final year students, to put on another concert. Mick Conti and Lynne Keating (now Heffernan) had seen me perform on the Punk Night, and felt that with rehearsal, we could put together a 'do' to mark their leaving. It turned out to be a good night and was fun to do. All of the songs were cover versions and were performed in true theatrical style. Mick delighted in showing me the chords to Raindrops Keep Falling On My Head. On the night he excelled on that song. I actually recorded the whole concert, and it is available for any die-hard fans who are interested in hearing it again! Of academic interest, during rehearsals, a guy I briefly knew at that stage, was listening in. At the end of the session he came and offered me the option of playing his guitar for the night of the concert. His name was Dave Watson, and I duly accepted his kind offer. Thus I took the opportunity of playing a beautiful, acoustic, Gibson guitar - one of the finest acoustic guitars I've ever played. Mick Conti Lynne Keating Dave Watson

The concert proved to be a fine way to end my second year. ... and the Song list for that evening:- Catch The Wind You Ain't Goin' Nowhere I Will The Great Australian Dream Jesu, Joy of Man's Desiring Daisy, Daisy Woodstock Tomorrow Is A Long Time Ob-La-Di Ob-La-Da Raindrops Keep Falling On My Head (090) JESU, JOY OF MAN'S DESIRING (2) [Jun '77] (J S Bach) Although this is not an original composition, I've included it here as it captures the warm, friendly atmosphere of that evening. The crowd were so appreciative and attentive, that you could have heard the proverbial 'pin' drop. Thanks to a good condenser microphone, and my cassette recorder tucked under a nearby chair, you can hear Harry, the barman, ringing up the bar-till at the end of this solo.


Chapter 5 - Teacher Training – (Elvis) Summer [Jul '77 - Sep '77]

So, another College Year was over, and it was time for Ros and I to spend some together. We chose to return to France, again 'hitching' our way across the country. (6 - 19th Aug '77) Of course this time we were now experienced in hitch-hiking, or as the French say, "En Stop".

Anecdote Time: With just a few days of our holiday remaining, Ros and I were taking an early morning coffee in a Paris café, on the return trip. I was captivated by the headline on someone's French newspaper. "ELVIS EST MORT". (16 Aug '77) Not something you forget. ..... Within days I was back in Southampton working on another Social Services contract, (20 Aug - 20 Sep) while Ros returned to her parents to see out the remainder of her summer break. SOUTHAMPTON BBC RADIO SOLENT (26 Aug '77) It didn't take long for me to meet up with Pete May. We had much to discuss on how to promote the 'Single' we'd recorded in May '77. Of course, we only had the reel-to-reel, original version, as the Discs were still awaiting pressing. However, that didn't stop us. We planned on getting the single played on the local Radio. We marched into the BBC Radio Solent offices and asked to see Gethyn Jones. (D.J. supremo!) After his morning show was over, we chatted away and couldn't see why he was so surprised at our request. "30 minutes live on the air with both sides of the single being played, .... if you please, Gethyn". Having worn him down by not accepting "No" for an answer, he finally cracked! "9.30 tomorrow morning then lads". It worked. We were in. Next day - no problem - Pete and I smiled as we filled our BBC plastic cups with orange juice. "Max Bygraves was here last week", said Gethyn. (But that didn't put us off!) Then with seconds to go we stared at this red bulb, listening to Gethyn announcing us and playing the A side. The bulb changed from red to green - gulp! We were live on-air! SOUTHAMPTON EVENING ECHO NEWSPAPER (1 Sep '77) A few days later I rang up the local evening paper (The Southern Evening Echo) and asked them to interview me and Pete to further promote the 'Single'. It still makes me chuckle remembering Pete's reaction when I telephoned him to say he had 15 minutes to get to my house 'cos the photographer and interviewer were on their way. BBC Radio Solent - South Western House Southampton Evening ECHO (1st Sep '77)


Chapter 5 - Teacher Training – (Elvis) Summer [Cont.] [Sep '77]

With the single, the radio show and the local newspaper article we definitely felt like 'local lads made good'. To cap our summer efforts, Pete and I went to London to trawl around the record companies. Our best shot was at Dick James Music where we were invited to, "write more". (5th Sep, '77) This seemed like a snub at the time but I later appreciated this "rejection" as being a positive offer to "come back again". There was little time remaining of that summer, but enough time for Pete and I to record a fresh track. (091) IN THE SKY (1) [Sep '77]

(Lockyer / May) Once more the Sony Tape deck was put to good overdubbing use, as Pete and I recorded this 'tasty' instrumental. It's simply our two good guitars at play. ... With that, it was back to my temporary work, whilst my thoughts turned towards Ros. My Social Services contract was up on the 20th September, and that gave me just enough time to take a weekend in Newcastle-Under-Lyme to visit Ros' parents, ... with Ros, before I would return to Wrexham. Ros and I had been planning this visit for a month or two, and the subject was to ask her parents for 'permission' to get engaged. Her family were strict Catholic, and formalities had to be observed. Unfortunately, things did not go well, suffice to say that I returned to Southampton alone. I thought I'd be returning to announce my engagement; instead I told Pete the news that Ros and I had actually 'split up'! I'll spare the details. The following day, Pete came over for a beer. On his walk from Beauworth Avenue, he passed a newsagent's stand showing the headline 'Marc Bolan dies in car crash' (30 Sep '77). We had our beers, with me returning to Wrexham a few days later. What an event filled summer!


Chapter 5 - Teacher Training – Year III [Oct '77]

Onto Year III - and this time I chose to leave Norman Road, sharing 'digs' in town, with Dave Retter. (11 Smithfield Rd) The room was none too appealing ... except for the price. In many ways, this was simply a 'documented' home address, as I subsequently spent most of Year III squatting on friends' floors on campus! Within days of being back, Gareth and I had met up to discuss putting on another 'costume' gig, similar to the popular 'Punk' night. This time we chose to re-create the 'free-love' spirit of 'Woodstock' in announcing ..... 'HIPPIE NIGHT' (Oct '77) We hunted down the appropriate attire - loon pants, cheese-cloth shirts, flowers in the hair etc... We also continued with Dave Watson, on guitar, and Steve Pritchard, on vocals. The only task remaining was for us to rehearse 20-30 songs within a fortnight. We had to limit our rehearsal time as Gareth's Diploma Course forced him to take on an additional 'Teaching Practice' during Nov / Dec that year. ('77) The following is an extract from the original set-list we played: (not exhaustive and not necessarily in this order) Born To Be Wild - Steppenwolf The Price Of Love - The Everly Brothers Hey Joe - Jimi Hendrix House Of The Rising Sun - The Animals Southern Man - Neil Young With A Little Help From My Friends - (Joe Cocker style) Daydream - Lovin' Spoonful All Along The Watchtower - Jimi Hendrix While My Guitar Gently Weeps - George Harrison Wishing Well - Free Can't Get Enough - Bad Company All I Want Is You - Roxy Music Sunny Afternoon - The Kinks Light My Fire - The Doors Whiskey In The Jar - Thin Lizzy Anecdote Time: '77 was another long, hot summer, and this carried through on many Sep / October nights that year. On the day of the gig it had been a scorcher, and the evening felt like a balmy summer's evening. The student bar was also packed out. I recall drinking many pints of water during the performance and, inevitably, I needed to make a 'call of nature' mid-set. I vividly remember spotting that there was no way to pass the crowd on the way towards the 'gents', as the crowd were so tightly packed. I turned to Gareth during one of the songs, and with a few recognisable gestures, he realised my predicament. He began a 'drum solo' giving me time to climb out through a side window, and find a nearby tree or bush. On my return, I found the window had shut itself with the clasp closing it tight. My only way back was to return via the main entrance and forcibly push past the crowd. I returned in time to see two of the crowd, more than slightly intoxicated, pouring pints of cold water over Gareth and his drum kit. I was astonished when he finished the solo, wiped his brow, and his snare drum, and turned to me to say, "When you're ready, Gray", as we launched into the next song! What a pro. Funnily enough, on the following page you can see a photo showing the rear fire escape door, behind Gareth, lodged tight by a chair. Where were 'Health & Safety' in 1977?


Chapter 5 - Teacher Training – Year III [Cont.] [Oct '77]

Me, Gethyn Jones, Dave Watson, Gareth Williams, Steve Pritchard Gareth Williams

Gareth Williams Students' Union Bar

Graham Morgan, xxx, Paul Williams Fans Gwyn ?, Maggie ?


Chapter 5 - Teacher Training – Year III [Cont.] [Nov '77 - Dec '77]

Fresh from the success of the 'Hippie Night', I was keen to get back on stage. However, Gareth, as stated previously, was now out on his Teaching Practice for the remaining six weeks of the term. By chance, I heard via the College grapevine of another guitarist, on campus, and promptly met up with Frank (I've forgotten his last name ....... actually I don't think I ever knew it). He had seen an 'ad' in the

local gazette ... 'Guitarists required for folk/rock group'. I went along with him for the auditions, and to our surprise we were met by three identical sisters! They were a vocal harmony group looking to 'beef up'

their sound. They were very good, and adept at classic folk material from groups such as Fairport Convention etc. Frank and I 'did our stuff' and after much fun and laughter, the girls asked us both to join. I believe we managed three gigs during that six week period, prior to the Christmas vacation forcing me to leave the band. The band had gigs lined up, but I wasn't ready to stay for the 'long haul'. For me, I was time filling, awaiting Gareth's return to drumming duties. My memories of that band were of Frank - all 17 stone, heavily bearded, six-foot plus and always wearing the same black leather jacket! - and of the three girls - innocence personified, always seemingly dressed for a Sunday-school outing. Strange, quite strange. (092) CADENCE AND CASCADE (0) [Dec '77] (Fripp, Robert / Sinfield, Pete) Not an original, but it's included to remind me of the sound of Frank and the Girls. Albeit short, but enough to sample the sweet voices of the girls and the really excellent acoustic guitar soloing from Frank. ..... and now for some light-hearted images of that period ..... Gethyn Jones, Me, Dave Retter Me, aged 23 (late '77)

..... and so, it was back to Southampton for the Christmas break. As usual, I met up with Pete May for our traditional 'update of news' etc. Pete explained how he had split from Caroline and was now seeing a new girl from Worcester, namely Janet Charlseworth. Pete already knew from the summer, how I'd split

with Ros. With the updating of our news over, we sipped a few beers down at the West End Brewery pub, and listened to the juke box Christmas hit from Paul McCartney, 'Mull of Kintyre'.....


Chapter 5 - Teacher Training – Year III [Cont.] [Jan '78 - Mar '78]

After a relatively quiet Christmas I was ready to return for my final Year III Teaching Practice. This time it was at least a local school, which meant I was on or around the campus for all of the usual events. However, the duration was to be 8 weeks! That amounted to a lot of lesson plans and extra preparation. The school transport was via the local Evans bus service. I recall that January being particularly cold. My shared room, at Smithfield Road, had a tiny broken window, and the temporary cardboard 'fix' did little to prevent ice forming on the inside of the window. Needless to say that evenings spent there were kept to a minimum. Dave Retter and I aimed to stay over on campus as much as possible to help start the day well from warmer surroundings. If memory serves me well, I also remember us sneaking into the College kitchens each morning to beg a 'free' breakfast from the kitchen staff. Those 8 weeks seemed to take forever to pass, and there was little chance for me to plan any College gigs with Gareth. With that, I turned to listening two albums of particular merit. The first was the classic 'City To City' LP (Feb '78) from Gerry Rafferty. This included the monster hit, 'Baker Street'. I recall

that album being played many times in Gareth's campus room. The second album needs a little more explanation. It was 'Puttin' On The Style', by Lonnie Donegan. (Feb '78) Lonnie Donegan was the first singer/guitarist I listened to during my youth. (Turn back to Page 9 for a quick recap on how much this guy had influenced me.) Here, some 19 years later, he was back with a new album. This album was a collection of his greatest hits, but newly recorded with some of my favourite guitarists adding their 'touch' and 'solos' to his voice. The album included Rory Gallagher, Albert Lee, Brian May, Ronnie Wood, Mick Ralphs, Peter Banks, Roger McKew, Zoot Money, Elton John, Pete Wingfield, Nicky Hopkins. Each of these artists had apparently also quoted Lonnie Donegan as being a major influence on their careers, and hence their willingness to assist in the recording. This still is a great album and always worth a listen. In fact that album of Lonnie's Skiffle songs inspired me enough to return to the original recordings from those late 50s. With the help of one of my Business Studies colleagues, Howard Verrier, I conjured up a

small set of 6-8 skiffle songs and did a solo act in the Student's Bar. (early March '78). A lot of my pals were still 'away' on Teaching Practice, but as that was nearing its end, I performed the gig to a smaller than normal audience during a mid-week lull. Gareth recalls the details more than I, as he tells me the skiffle rhythms had given him too much of a challenge, with too little notice. (I don't think he was a skiffle fan?) Anecdote Time: At the close of Teaching Practice, Dave Retter and I took time out to delight on the progress of Wrexham Town FC, during their FA CUP run of that season. At that time Wrexham had become well known for their 'Giant Killing' acts, and did in fact have a very talented team. A trip to the Racecourse Ground was always worth a goal or two from Dixie McNeil. However, this particular Saturday (11th Mar '78), Wrexham were at home to Arsenal in the 6th Round of the FA CUP. Dave and I decided to have a few beers before the game, and on our way we passed a local bookmaker's office. I've never been one to place bets, and quite frankly I still don't really know how to, but that day Dave and I placed a £5 bet on the final score being 3-3. I believe the odds were 500-1. During the final 15 minutes, Dave and I were sweating .... the reason being that the score at that stage was Wrexham 2 - Arsenal 3. Is there a god? Would Dixie McNeil score a dramatic equaliser? Would Dave and I not have to worry about the price of the next pint? In reality, Dixie McNeil shot at goal during the final 2 minutes ...... and with the goalkeeper beaten, ... hit the post. Never mind, eh? [Wrexham 2 (McNeil, Whittle) Arsenal 3 (Macdonald, Sunderland, Young) (FA CUP 6th Round)] ..... So with Easter approaching (24-27 Mar '78), it was 'goodbye' to the Teaching Practice. However, for me I decided to stay at Wrexham for the Easter vacation, and not to return to Southampton. A few days prior to the Easter break, I received a call from Rosalyn Caulfield. She questioned whether there was any chance of us getting back together, and after many words, and long pauses, we agreed to spend the week's vacation at Wrexham. At this stage my 'digs' at Smithfield Road were none too welcoming, and with most of my fellow students having disappeared for Easter, there was nowhere to stay on campus. So, Ros and I decided to stay at the rather 'posh' Crest Hotel in Wrexham town. (late Mar '78) I must admit it felt like I was a tourist visiting the town, but it did give ma and Ros time to relax and talk at length. The end result was that we decided to give it another 'go'.


Chapter 5 - Teacher Training – Year III [Cont.] [Apr '78 - Jun '78]

April arrived ... with a thud. Yes, Final Exam revision time had arrived. My thoughts turned to how I'd completely wasted my final year at Itchen 6th Form College, and how I'd blown my A-Levels. Wrexham College had given me a second 'bite of the cherry', and I wasn't going to waste the opportunity. Other than the occasional trips to the Student Bar, the April / May period was spent on solid revision. I had sufficient confidence to even take the Half Term (24-28 May), away from College and meet up with Ros at Pete May's usual Worcester residence. During that small break I had the chance to meet Janet, later to become Pete's wife. A swift return to Wrexham and back to that examination timetable. Things went well, and my confidence remained high. Now it was time to start the job hunting, on the assumption that my results would match my good spirits. After only five or six letters I received an invitation to interview at Colbayns High School, Clacton-On-Sea, Essex. My only knowledge of Clacton was of the Weeley Pop festival I'd

attended in 1971. However, on a more serious note, the High School had an enormous School Roll count, and there were very good opportunities and openings in its large 6th Form Business Studies group. After a very long train return journey, and two interviews passed, I returned, well pleased with my provisional acceptance. The examination results would arrive during the summer vacation ... there was nothing I could now do, other than plan one final gig with Gareth before the end of term. ROCK 'N' ROLL NIGHT - KING KEE & THE RATTLESNAKES (24th Jun '78) This was to be the last performance from me and Gareth at the college. Well, we'd gone through the 'Hippy' night and the 'Punk' night. What next? It had to be Rock 'n' Roll. This was to prove interesting as I'd never previously tried to play any 50s style Rock 'n' Roll. I needed to quickly borrow cassettes from my pals who were into Buddy Holly and Eddie Cochran. There weren't too many of those fans around, but the gig soon brought out the theatrical 'swirly' skirts and 'teddy boy' look. It was another great night. There was no recording of the evening's work - but I still have a recording taken of our rehearsals a few days before the gig. I also have the exact set-list: Shakin' All Over That'll Be The Day Roll Over Beethoven Heartbreak Hotel Blue Suede Shoes Need Your Love So Bad Wipe Out Hound Dog Summertime Blues Albatross Jailhouse Rock Shake Your Moneymaker Johnny B. Goode Jan Jones, Me Gethyn Jones, Lynne Jones, Gareth Williams


Chapter 5 - Teacher Training – Year III [Cont.] [Jul '78]

The Rock 'n' Roll gig was a fine success, and there still remained the formal 'Going Down Ball'. However, in reality, that was it. Now, it was down to the inevitable handshakes and goodbyes to all of my pals. This was precisely the moment I'd written about in the song 'End Of Term' (Mar '76). Great sadness, but also so many great memories of everyone I'd met there. And what of the College itself. Interestingly, when I applied for acceptance, back in December '74, the institution was formally known as Cartrefle Teacher Training College. However, by the time I began in September '75, the name had changed to North East Wales Institute of Higher Education. (NEWI) Further changes followed after I'd left, culminating in 'NEWI' being disbanded, along with the Cartrefle Site, in 2000. The Institution again took on a re-branding as it 'morphed' into Glyndwr University in

2000. Yes, that truly marked the end of an era. I've never been back to Wrexham since the day I left in 1978. I believe the town and local area have suffered in recent years. For me, I'll keep my memories fresh as to 'how it was'. Me, aged 24 (Jul '78), Gwyn, Dick, Gareth

I'd written at the end of Chapter 4, how sad I was to leave Southampton and wondered if I could meet up with such colourful characters again. It's true to say that 1975-78, Cartrefle College, was a wonderful part of my life ..... but all good things come to an end ..... or do they? I have agreed to stage a re-union gig with some of my pals. The 'CASTRATORS' Punk Night was one of the most colourful gigs we'd performed, and Gareth Williams and Alan Sullivan and I are busy rehearsing for a 'follow up' gig sometime in Summer 2011. Watch my website for news of details. www.grahamlockyer.com

chapter 4 working for a living [sep 72 sep -...

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