Jack White launched into the searing riff that was the intro to ‘Death Letter Blues’. It shot me straight back to 1968 and the thrill of seeing and hearing Son House. Son’s national steel guitar was more ragged than Jack White’s crystal clear electric chords, and nowhere near as loud, but the chords rang true and the energy and passion were exactly the same.
Meg pounded the drums and the crowd surged forward.
It was Bridlington Spa in 2004. White Stripes were the hottest thing on the planet. The place was packed and the atmosphere electric. I was right near the front – the only place to be at any gig – the place where the intensity was magnified.
It was a huge crowd and they were crazy tonight. I could see the young kids piling into the mosh-pit and shoving – excited groups of kids surging like riot cops in a wedge, driving into the crowd and sending them reeling so that people tumbled and spilled. For the first time I started getting concerned. The tightly packed kids were roaring and bouncing up and down so that I found myself propelled first one way and then another as the forces echoed and magnified through the mass of people. At the front the crush was intense and everyone was careering about madly. My feet were off the ground as we were sent hurtling around. I had visions of someone getting crushed, someone falling and getting trampled. Worst of all – it could be me!
For the first time in forty odd years of gigs I bailed out. I ruefully headed for the balcony and a clear view of the performance. I didn’t want a clear view I wanted to be in the thick of the action. It got me wondering – was I getting to old for this lark? My old man had only been a couple of years older than me when he’d died. Perhaps Rock Music was for the young and I should be at home listening to opera or Brahms with an occasional dash of Wagner to add the spice. I had become an old git. Then I thought – FUCK IT!!! Jack White was fucking good! Fuck Brahms – This was Rock ‘n’ Roll. You’re never too old to Rock! And Rock was far from dead!
The search goes on!!
We haven’t got a clue what we’re looking for but we sure as hell know when we’ve found it.
Rock music has not just been the backdrop to my entire adult life; it’s been much more than that. It has permeated my life, informed it and directed its course.
From when I was a young boy I found myself enthralled. I was grabbed by that excitement. I wanted more. I was hunting for the best Rock jag in the world! – The hit that would send the heart into thunder and melt the mind into ecstasy.
I was hunting for Beefheart, Harper, House, Zimmerman and Guthrie plus a host of others even though I hadn’t heard of them yet.
I found them and I’m still discovering them. I’m sixty four and looking for more!
Forget your faith, hope and charity – give me Sex, Drugs and Rock ‘n’ Roll and the greatest of these is Rock ‘n’ Roll!
I was a kid in the Thames Delta, with pet crow called Joey, 2000 pet mice (unnamed), a couple of snakes, a mammoth tusk, a track bike with a fixed wheel, a friend called Mutt who liked blowing up things, a friend called Billy who kept a big flask of pee in the hopes of making ammonia, and a lot of scabs on my knees.
My search for the heart of Rock began in 1959 and I had no idea what I was looking for when I started on this quest. Indeed I did not know I had embarked on a search for anything. I was just excited by a new world that opened up to me; the world of Rock Music. My friend Clive Hansell also had no idea what he was initiating when he introduced me to the sounds he was listening to. Clive was a few years older than me. He liked girls and he liked Popular Music. Yet he seemed to have limited tastes. I can only ever remembering him playing me music by two artists – namely Adam Faith and Buddy Holly. In some ways it was a motley introduction to the world of Rock ‘n’ Roll.
I was ten years old which would have made Clive about twelve or thirteen, I suppose he could even have been fourteen. That is quite a lot of years at that age. We used to got off to his bedroom, sit on the bed and he’d play me the singles – 45s – on his Dansette player. He’d stack four or five singles on the deck, push the lever up to play and we’d lean forward and watch intently. The turntable would start rotating; the mechanism clunked as the arm raised, there were clicks and clunks as the arm drew back and the first single dropped, then the arm would come across and descend on to the outer rim of the disc. The speaker would hiss and crackle and then the music kicked in. We watched the process intently every time as if it depended on our full attention.
The Adam Faith singles were on Parlaphone and were red with silver writing. Buddy Holly was on Coral with a black label and silver writing. We reverentially watched the discs spinning and listened with great concentration to every aspect of the songs. It was a start.
Yet Rock ‘n’ Roll was by no means the only quest I’d started on. I was an early developer. I’d hit puberty at ten and can remember myself as the scruffy little, dirty-faced kid who climbed trees, waded through ditches, got covered in frogspawn and lichen and was suddenly sprouting pubic hair – very confusing.
Life was going to change for me. I was in a transition phase.
My friend Jeff has a photo of me from this age that seems to sum it up very nicely. I was briefly in the cubs before they chucked me out for being too unruly (they – ‘they’ being the establishment – also chucked me out of the scouts and army cadets!). I went to cubs with my mate Jeff. Jeff lived at the end of the road and I used to go and call for him. It was only about 400yds away. I set off in plenty of time, did my thing on the way and arrived at Jeff’s house. His mum obviously did a double take and went for the camera.
Oblivious to any underlying motive on Jeff mum’s part I innocently posed with Jeff. The resultant picture, which shows the two of us proudly standing to attention doing the two fingered cub salute (very appropriate I always think), showed Jeff immaculate with creases in his shorts, flashes showing on his long socks, cap, woggle and scarf all perfectly aligned, and me not quite so sartorially presented. To start with I am utterly begrimed with green lichen, having shinned up a number of trees; one sock is around my ankle and the other half way down my calf; my scarf and cap askew, and my jumper and shorts a crinkled, crumpled mess. It looked like a set-up but was probably par for the course.
Looking back I can see why Clive liked Buddy and Adam. Buddy Holly was a genius. In his short career of just three years he wrote tens of classics of Rock music with hardly a dud among them. He was highly prolific, innovative and talented. I think of him as the Jimi Hendrix of his day. He was far ahead of Elvis. His mind outstripped all the others. I think Buddy’s death, along with Jimi’s, John Lennon’s, Eddie’s and Jim Morrison’s were the great tragedies. Out of all the early Rockers he was the one with the musical ear, the melody and adaptability to have really progressed when the music scene opened up in the 1960s. The other Rockers all got caught in their own 1950s style or went Poppy. I would have loved to have seen Buddy interacting with the Beatles. My – what we missed out on!
In many ways Adam Faith was Britain’s answer to Buddy. The arrangements of the songs were cheesy covers of Buddy and Adam did his best Buddy warble. Britain hadn’t quite got it right with Rock music. The production and direction from management (Larry Parnes the old-fashioned British Impresario has a lot to answer for as he guided his Rockers into a more ballad driven, family safe, Pop sound that he figured would make him more money) was all a bit twee. Even so, back then, Adam Faith sounded good to me. In Britain in the 1950s we were starved of good Rock ‘n’ Roll. The good old Auntie Beeb, with its plumy DJs did its best to protect us from the dreadful degenerate racket created by the American Rockers.
I wonder where Clive is now; is he still alive? I wonder what happened to him through those heady days of the 1960s. I don’t suppose he even thinks about me much or imagines what he unleashed.
I am a collector. It is a strange addiction that started back then. Clive would sell me his Adam Faith and Buddy Holly singles when he’d got bored with them. I bought them cheap and I still have them all.
The age of ten was a bit of a milestone year for me. I not only discovered Rock ‘n’ Roll but also fell madly in love. Glenys was a dark Welsh temptress of eleven who utterly bewitched me (females are always portrayed as temptresses – but I was certainly tempted!). She too had reached puberty early and the two of us indulged in ‘real lovers kisses’ like they do in the films. For nine months it was heaven. We even talked about having kids and wrote each other love letters.
Glenys was a bit wild and, obviously, led me astray. We planned to get out for a night on the town. We could imagine the delights of Walton-on-Thames at night. For us it was the big city – all full of lights, crowds and excitement. We saved our money and arranged to go to bed fully dressed, slip out when our parents had gone to bed, meet by our tree (a big elderberry tree that we had a camp in) and head off to the bright lights – big city. Even at ten I had a craving for the Rock ‘n’ Roll lifestyle. We were wild, man! Unfortunately I must have drifted off to sleep and awoke the next morning fully dressed with light streaming through the window. Glenys assured me, huffily, that she’d waited for hours. Then, next night, I got there and she never showed up. Then on the third attempt my dad caught me wandering around and I had to make a lame excuse about needing a drink of water. Glenys and I never actually made it to those illicit bright lights. But that was probably a good thing. It remained a mythical place of bustle and excitement where in reality it was probably all shut up with just a couple of fish and chip shops and a load of drunks.
I was hopelessly in love. I’m not sure about Glenys – she did seem to be cultivating a stream of admirers. But the love affair was doomed. Her family moved and took her with them. I was bereft.
This was made worse by the doldrums that Rock had lapsed into in 1960. Life was crap.
I lapsed back into the solace of my huge collection of pets and wild animals. I taught my crow Joey to talk and fly. I sold my mice, guinea pigs and hamsters to the pet shop and ran a mini stud farm while I tried to allow my broken heart to mend. It was a kind of hibernation.
I emerged to find, at the age of thirteen, that there were loads of other girls all brilliantly enticing and willing to engage. There was also suddenly an explosion of Rock music. I resumed both my quests and the zoo took a distant third place.
I am writing this in my ‘den’. I spend a lot of my life here. I have my shelves of vinyl albums, my drawers of CDs, my cupboards of singles, my piles of magazines, my hundreds of Rock biographies all around me. I’m immersed in it. Yesterday I spent the day organising my CDs. It takes a bit of doing as I have over ten thousand. I use the Andy’s Record shop system; I catalogue them using the first letter of the first name – so Buddy Holly goes under B. I have tried grouping them under genres or eras but that’s fraught with problems. At some time I will endeavour to rearrange my albums. I don’t need to that but I do like holding them, looking at the covers and reading the blurb. It brings back memories and I can imagine the music and the feelings that went with it, the concerts, the friends and the times we lived through. There’s something very tactile about an old vinyl album. It’s a piece of art. When you hold it there’s warmth to it. You connect with the people who held it before you, the feel of the music, the musicians and the era it was made in. The cover tells you a story from the artwork, the photos and liner notes, to the label it was released on. Certain labels mean something special like Folkways, Electra, Stax, Dead Possum or Track. You knew what they stood for.
Collecting is an obsession. It is probably a type of madness, a symptom of autism that is mainly confined to males – but what the hell!
Back in the ‘old days’ there were hundreds of us collectors. We’d meet up clutching our recent purchases, pass them round, discuss them madly, play them, argue over them and roll our joints on the covers. We’d vie with each other to get hold of rarities, obscure bands or artists, bootlegs or rare pressings. We’d develop our loyalties and our allegiances for certain artists (the more unknown the better) and develop our collections. The first thing you did when you met someone new was to get a look at their collection. It told you everything you wanted to know.
Back then records were hard to get hold of. They meant something. You had to hunt them down. Every Saturday you’d be making the rounds of the second hand shop, rifling through the bins of vinyl albums hunting for the bargains and rarities, with the expectant baited excitement of discovering that gem. You’d meet up with your friends, show your purchases off with pride, and discuss your new discoveries and what gigs were coming up. It was a good way to socialise. Nowadays we are few and far between and viewed suspiciously as eccentric dinosaurs, children who have not grown up, or sad decaying hippies. Whatever. We still do it though.
In the age of decluttering, coupled with the wonders of digital (I also have a few terabytes of digital recording – mainly live concerts and bootlegs), where you can download a band’s or label’s entire recorded output onto your I pod in an hour or browse through all the cheap releases on Amazon or EBay and find exactly what you want in minutes – it takes most of the thrill out of it. I have now obtained albums and recordings, in pristine quality, that, in the early days, I would have died for but there is no longer the same thrill in the hunt or the excitement of uncovering a longed-for rarity in the second-hand rack. It’s the same with football – now you can have exactly what you want, when you want it, it does not mean as much.
In 1959 I started my collection of singles. Having become addicted I moved on to albums. My first purchase was the quite incredible ‘Cliff’. I know, Cliff Richard is naff, a sugary sweet, Christian Pop singer. But in 1959 Cliff was a genuine British Rock Singer and produced more great Rock ‘n’ Roll tracks than anybody else. There was more to Cliff than ‘Move it’. He, more than anybody else (apart from ‘The Sound of Fury’ and a little later Johnny Kidd plus a few assorted tracks by other mainly Larry Parnes kids) captured the sound, excitement and rebellion of Rock ‘n’ Roll. His first album, recorded in 1959 live in the studio before a small audience of screaming girls, was a storming, rockin’ affair. Back then Cliff was neither wet nor Pop. He, like Elvis, suffered from bad management, and was directed down the saccharin Pop road to success. What a travesty. He became wet, Pop and MOR. I still love that first album though.
Strangely, given that most collectors are blokes, it is apparently the girls who buy the most singles. They set the trend. And girls tended to like songs to be romantic. They veered away from the loud and raucous. They like the pretty boys. It paid Cliff, Billy and Johnny Burnette to become sweet faced pin-ups rather than wild rockers.
Soon I had a heap of albums including the wonderful Eddie Cochran, Little Richard, Bo Diddley and Chuck Berry. I made wooden brackets so that I could put them up on the wall in my tiny bedroom. When someone shut the door too violently they flew off the wall into a heap on the floor to my great dismay and chagrin. I was a junky. I had to get my regular fixes of Rock ‘n’ Roll. I sat in my room playing them over and over. When I got a new record I’d rush back and play it to death while reading all the liner notes until I’d absorbed every note and word and wrung everything I could out of it.
As a kid I loved the loud visceral excitement and rebellion of the music. As I grew older I wanted something that was more musically complex and intellectually stimulating. I still loved the excitement and energy of early Rock ‘n’ Roll and R&B but I craved something more.
I was looking for Captain Beefheart, Roy Harper, Son House, Woody Guthrie and Bob Dylan but I didn’t know it. It was a search that took me through many absorbing and exciting revelations. There were, of course, the Beatles, Stones, Downliner’s Sect, Pink Floyd, Free, Hendrix, Syd and Cream. There were the Doors, Country Joe, Janis, Jefferson Airplane and Love, Zappa, Jackson C Frank, Leon Rosselson. There were Muddy, Howlin’ Wolf, Jimmy Reed and Slim Harpo. There were the Who, Kinks and Prettythings. There was Bert Jansch, Donovan and John Renbourn, Otis Redding, Aretha and Booker T. There were the Sex Pistols, Clash, Stranglers, Stiff Little Fingers, Elvis Costello, and Ian Dury. There was Bob Marley, Michael Smith and Lee Scratch. And now there’s Nick Harper, Eels, White Stripes, Tinariwen and the North Mississippi Allstars. There were a thousand others. I saw most of them live. I met a number of them. I even got to the recording sessions.
It’s been quite a journey.
I am a collector. I have the records to prove it. I also have the collection of memories.
The life we live, the choices we make, the ideals we chose to live by, all make us the people we become.
I have always been an idealist. I wanted to solve all the world’s problems and have a great time doing it.
I also became a teacher.
My music has been the soundtrack to my thoughts, dreams and ideals. It has driven me, provoked my thinking, awoken my sensibilities, fuelled my anger, and filled me with love and pleasure.
I apologise to me wife and kids. It’s not easy living with an obsessive junky, an insane romantic on a mission. Someone will have to clear out my den. My head will take care of itself. Those thoughts, memories and dreams will be gone but hopefully they’ll leave behind a few ripples that will make the odd person think.
Right now I’m off in search of my heroes. There’s still much to discover.
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