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© 2010, Graham Lockyer. All Rights Reserved. MUSICAL BIOGRAPHY Page 1

Graham Lockyer - Musical Biography

My first 50 years ….. Musically speaking

1954 - 2004 Author: G Lockyer Original Date: December 1994 Revised: Jan-Dec 2010 © 2010 All Rights Reserved


Contents Page Foreword 005 Acknowledgements 006 Chapter 1 - The Early Years [‟54 – „68] 008

Background [1954 – 1960] 009 The Everly Brothers to The Beatles & Dylan [1960 – 1965] 010

Independence [1966 – 1968] 011 Chapter 2 – A Musician‟s Life For Me [Jan ‟69 – Aug „70] 014

The Guitar [Jan „69 – Aug „70] 015 Chapter 3 – Itchen College [Sep ‟70 – Aug „72] 017 Pete & Barry [Sep ‟70 – Feb „71] 018 “Nevertheless” (Sholing Primary - Gig, Merry Oak - Gig) [Feb ‟71 – Oct „71] 019

Social Scene [Nov '71 – Dec „71] 022

Song Writers [Jan '72 - Mar '72] 023 "Roche Moutonnée" (Bitterne Congregational - Gig) [Apr „72 - Jun '72] 026 End of an Era [Jun '72 - Aug '72] 029 Chapter 4 – Working for a Living [Sep ‟72 – Sep „75] 031

National Westminster (EKO 6 & 12, CSL & Columbus) [Sep '72 - Sep '73] 032

"Heritage" (Denis & Ross, Sound City & HH, Vanguard Rd) [Sep '73 – Oct „73] 040

Dark Times (Sandgate & Cosham) [Oct '73 – Mar „74] 043

"Heritage II" (Sony TC252, Sennen Cove, Spring Inn - Gig) [Mar ‟74 - Nov '74] 045 'Parallel' Album [Dec '74] 056

New Horizons [Jan '75 - Jun '75] 058 Bucklers Hard [Jul '75] 062 'Amaze In Space' [Aug '75] 063 End of an Era II (London A&R Trawl) [Sep '75] 066


Contents [Cont.] Page

Chapter 5 – Teacher Training [Oct '75 - Jul '78] 067 New Friends [Oct '75 - Dec '75] 068 Settled (Ros, Llandudno) [Jan '76 - Jul '76] 069 Heat-Wave Summer ('Sometimes You Wonder') [Jul '76 - Sep '76] 072 Keep Music Live (Al Sullivan, Phil Trotter) [Sep '76] 073 Year II (FairIsle, Castrators, Mick & Lynne) [Oct '76 - Jun '77] 076 'Elvis' Summer (France, Elvis, Radio Solent, Echo) [Jul '77 - Sep '77] 082 Year III (Hippie Night, Frank & Girls, King Kee) [Oct '77 - Jul '78] 084 Chapter 6 -Summer '78 [Jul '78 - Aug '78] 090 Telegraph Road Album [Jul '78 - Aug '78] 091 Remains of Summer [Aug '78] 093 Chapter 7 – Teaching [Sep '78 - Dec '79] 095 Colbayns High (Richard Wash) [Sep '78 - Dec '78] 096 Misspent Youth I (Quest Studios) [Jan '79 - Jul '79] 098 Misspent Youth II (Stage One Studios) [Jul '79 - Dec '79] 108 Changes [Dec '79] 116 Chapter 8 - Lecturing [Jan '80 - Aug '88] 117 West Ham (xx) [Jan '80 - ??? 118 East Ham (xxx) [??? Newham Community (xxx) [??? - Aug '88] ???


Contents [Cont.] Page

Chapter 9 - Oracle [Aug '88 - Aug '02] ??? Manchester (xxx) [Aug '88 - ??? Chapter 10 - Song Writer or Not? [Sep '02 - Dec '03] ??? Chapter 11 – Decision Time [Jan '04 - Sep '04] ??? Appendices .


Foreword

Welcome to my Musical Biography - my musical voyage of discovery! Choosing to collate my musical past was, for me, a simple and straightforward decision to make. I knew I‟d have to put the past to bed, before I could move ahead with new and fresh ideas. With so many decaying cassettes, and reel to reel tapes, clogging up the shelves, I felt it time to tidy up, in a chronological way. In all of the 150+ recordings included here, there are less than a dozen that stand the test of time. However, purely for selfish reasons, I'm less interested in any musical qualities that may or may not be present. For me, each recording rekindles fond memories of old friends, reminding me of the many good times we had together. In many cases, the poorest quality recordings still represent some of my funniest recollections. They were often captured as a result of switching on the nearest recording machine available. With little or no rehearsal, they represent 'the moment' snatched for posterity. To me they are priceless. As such, I dedicate each and every recording to those who contributed at the time. I often wonder how you are. Thank you all. Special thanks go to Pete May; without whom much of this would not have been possible. During those early years he became my musical „sparring partner‟. We spent so many evenings bouncing ideas off each other, each striving to push the other forward, only to finally drown our thoughts over the last pint or two down at our local pub, the “West End Brewery”. (Southampton) This book covers the „first‟ 50 years of my life. [1954–2004] However, I‟m really concentrating on my musical „adventures‟ between the years 1969-2004. Within that period, in parallel, I thoroughly enjoyed two great professional careers. One, a ten year Teaching / Lecturing career in Essex & East London. The second; a fantastic global career, as a Database Designer and Project Director for the American Information Systems & Technology company, Oracle. Throughout those 35 years, my musical life flourished only in an amateur capacity. In 2002, I took my first steps down a new road - succumbing to my musical cravings. I abandoned my business lifestyle to take up the lonely challenge of the „professional songwriter‟. During 2004, feeling comfortable with that decision, I moved to France [it being cheaper to live!] and sit here now closing the door on those amateur days. This book records my memories of that long, but very rewarding chapter in my life. Here‟s hoping that my third career will prove just as fruitful. With 35 years of musical experience behind me, it‟s now or never! Graham, aged 50 (Jul ‟04) La Fureterie (Jul „04)

Happy reading..... and listening! Graham


Acknowledgements

Thanks to the following for all of their help, dedication, influence, contribution and patience during those fun packed days. (In order of appearance:)

Pete May Dave Retter

Patricia Lockyer (Mum) Andy Stapely

Leslie Lockyer (Dad) Ted Moxham

Denny ? (Gibson J45) Dai Hansen

Carol Lockyer Stephen Pritchard

Noel Chatfield Dewi Morris

Pete Crawford Tony ?

Barry Woolnough Duncan ?

Eric Woolnough Jacky Luke

Doug Huxtable Rosalyn Caulfield

Tom Woolcock Simon Bothwell

Jonathan Howard Gareth Williams

Ian Howard Caroline Coleman

Dave Westerman Samantha Chatfield

Anne West Alan Sullivan

Amanda Brown Phil Trotter

Denis Murphy Kevin Bailey

Peggy Hall Gary Booth

Nigel Clemons Maimie Squires

Bob May Cherie Spiller (Jones)

Aidan Jarvis Kay Oxenham

Hazel Edmondson / Richardson Pam Davies (Bell)

Linda Bowers Jan Jones (Bothwell)

Steve Rennie Mick Conti

Sarah Bond Lynne Keating (Hefferman)

Hilary Farrance Dave Watson

Alan Wells Graham Morgan

Kevin Wells ??

Ross Harfield Paul Williams

Simon Chatfield Gwyn ?

Marianne Welden Maggie ? (McNulty)

Joan Jones Frank ?

Linda Jones Girls 1/2/3

Dave Randall Janet Charlseworth

Clive (Dave Randall's mate) Howard Verrier

Steve Young Lynne Jones

Dave Poulton Peter Blake

Jan Barber Dennis King

Geoff Appleby Richard Wash

David (Timetable Dave) Mac ?

Richard Hepper Dave Kenyon

Howard Goldstein Dave Cook

Linda ? (Richard's girlfriend)

Gloria Goldstein

Paul Williams

Terry Lidbury

Barry Ducrow

Andrew Montgomery

Tony Connolly

Equator Dawn Goldstein


Acknowledgements [Cont.]

.


Chapter 1

The Early Years

[‟54 – „68]


Chapter 1 – The Early Years - Background ['54 - '60]

I was born at home, Sullivan Road, Southampton, during the March of 1954. Mum reliably informed me that I was none too healthy and so I spent my first 9 months, in isolation at the General Hospital to cure my jaundice. Mum also told me how she believed that to be the reason for me being a quiet, retiring and very shy boy throughout my early years. Apparently I was at my most comfortable when playing alone with my toys, not uttering a word for hours, while she tackled large piles of ironing, listening to the radio. My earliest recollection of listening to music came at the age of 5. (1959). I remember hearing the sound of „Rock Island Line‟ by Lonnie Donegan, a „hit‟ in Jan ‟56, on my Father‟s record player. I obviously didn‟t understand the mechanics of making music then, but I sure felt that feeling of „something stirring inside‟ when your favourite tune is playing. Lonnie Donegan (1959) Graham, aged 5 (1959)

My father was heavily into Jazz and Country music, and had bought many records all of which must have influenced me; good or bad. I used to enjoy looking at the album sleeve photographs, e.g. Benny Goodman, Hank Williams, and Slim Whitman, as well as the superstars of the day, Frank Sinatra and Johnny Mathis. For my mother, her favourite artist was the great Jim Reeves. It took me 40 years to discover how good he was! I recall many evenings when Dad‟s friends would arrive to busk the „skiffle‟ hits of the time. My father would play the Washboard and sing. Another pal had an upturned „tea chest‟ with a stick and string attached on top! This was the popular way for „skiffle‟ bands to play acoustic bass. Finally, a guy named Denny, completed the line-up on acoustic guitar. He would often leave this guitar at the house, in between rehearsal sessions. Oh, how I would stare at this magnificent acoustic „beast‟, with its colourful scratch-plate, and dream of being able to play it. I also remember Mum warning me not to touch it as she said it was very expensive. When I think back I can still see it, and I‟m sure it was a Gibson Jumbo, much favoured by the American groups of the day. Yes, it was expensive, even then! Me, aged 6, Mum (1960) Gibson J45 (1952)


Chapter 1 – The Early Years – The Everly Brothers to The Beatles & Dylan ['60 - '65]

Between the years of ‟60–‟65, 6-11 years of age, I was bitten by the „music bug‟ and spent much of my time listening to pop songs on the radio, and watching the TV shows of the day. [Juke Box Jury (‟57), Thank Your Lucky Stars (‟61), Ready Steady Go (‟63), and TOTP (‟64)] The radio, especially Radio Caroline (‟64), courtesy of my home-made crystal set, gave me many US influences e.g. The Everly Brothers, Roy Orbison, Del Shannon, and Ray Charles.

In the UK I was switched on to Cliff Richard & The Shadows, all of the Liverpool „Mersey‟ sounds, as well as being curiously struck by the strange rhythmic pattern of Dave Brubeck‟s „Take Five‟. The following is a sample list of songs that immediately return me to this era whenever I hear them: 1960: Cathy‟s Clown (Everly Brothers) / Please Don‟t Tease (Cliff Richard) / When Will I Be Loved (Everly Brothers) / Only The Lonely (Roy Orbison) 1961: Walk Right Back (Everly Brothers) / Runaway (Del Shannon) / Johnny Remember Me (John Leyton) / Hit the Road Jack (Ray Charles) / Take Five (Dave Brubeck Quartet) 1962: The Young Ones (Cliff Richard) / I Remember You (Frank Ifield) : Bachelor Boy (Cliff Richard) 1963: Please Please Me (Beatles) / She Loves You (Beatles) / Hippy Hippy Shake (Swinging Blue Jeans) / 24 Hours from Tulsa (Gene Pitney) 1964: 54321 (Manfred Mann) / Glad All Over (Dave Clark 5) / Can‟t Buy Me Love (Beatles) / Tobacco Road (Nashville Teens) / Hard Day‟s Night (Beatles) / You Really Got Me (Kinks) / Oh Pretty Woman (Roy Orbison) / Little Red Rooster (Stones) / I Feel Fine (Beatles) 1965: Go Now (Moody Blues) / The Last Time (Stones) / Ticket To Ride (Beatles) / Help (Beatles) / You‟ve Got Your Troubles (Fortunes) / Satisfaction (Stones) / My Generation (The Who) In 1965, I remember being particularly influenced by Bob Dylan‟s – „The Times They Are A Changin‟, „Subterranean Homesick Blues‟, „Mr. Tambourine Man‟, „Maggie‟s Farm‟, „Like A Rolling Stone‟ and „Positively 4

th Street‟. All UK hits in that one year!

However, it was the obvious influence of the Beatles that had really taken a hold on me. From the moment I first saw and heard them on their TV debut, „Thank Your Lucky Stars‟ (Jan 19

th ‟63), performing

„Please Please Me‟, I knew that was where it was at! [Anecdote time] I remember being very taken with the melody of „Norwegian Wood‟ from the Beatles album, „Rubber Soul‟ (Dec „65). A good pal of mine, who lived only four doors away, was learning the

classical guitar, and having persuaded him to let me use the guitar, I proudly picked out that melody after an hour or two. That was my very first attempt on guitar. [From little acorns, eh?] Graham, aged 11 (1965) The Beatles – Rubber Soul (Dec „65)


Chapter 1 – The Early Years – Independence ['66]

January ‟66 started well for me. That Christmas I received a bicycle! Freedom at last! I spent every spare moment riding and exploring the neighbourhood in great detail. Looking back I can still sense the joy of being in total control of how and where I‟d spend my warm weather evenings and weekends. One popular cycle route was down to the Woolston area of town, each Saturday morning, where I‟d take the ferry [The Floating Bridge] across the River Itchen to the town centre. On the return journey I‟d stop off at the Woolston Library and search for my favourite Sherlock Holmes‟ novels. The Floating Bridge, Woolston Woolston Bus Station – early 60‟s

The summer of ‟66 was to become a turning point for me. At a national level, England hosted the World Cup – and went on to win! (30 Jul) At my local level, the family moved house from Sullivan Road to Vanguard Road, in the Bitterne area of Southampton. [Aug 12

th „66]

Musically, things were moving. Groups were „pushing out‟ the boundaries, producing dynamic new „sounds‟. The Kinks were riding high with their brand of storytelling. Motown was flourishing with hits for The Four Tops and The Supremes. The „Small Faces‟ were belting out their brand of R‟n‟B on „All Or Nothing‟. In the November The Beach Boys were „experimenting‟ with their very different „Good Vibrations‟. However, The Beatles were still my number one influence. [Anecdote time] I remember, one particular Saturday, 11

th June, ‟66. I‟d gone out to the „Lido‟ open-air

swimming centre in town. This was a great place to „hang out‟, with its coffee bar, and concrete bathing area alongside an enormous pool. I had just returned from a swim, dripping wet, with the sun beating down on me. Lying there, and burning in the fierce heat, I heard announced over my transistor radio, “Here is our first playing of the new Beatles single”. (released 10 Jun) What excitement and expectation! Then, I heard the opening guitar riff to „Paperback Writer‟. That was it. I was in heaven. My first year at Itchen Grammar School was just coming to a close. Things were going well, and I‟d made new friends. I hadn‟t a care or worry in the world. Life couldn‟t be better. I remember thinking that I‟d best savour the moment as I‟d probably never feel that good again! Whatever – I‟ve certainly never forgotten that day, and I still get a „chill‟ every time I hear that track. Lido (photo taken 1930‟s) Itchen Grammar - Year 1 („65/‟66)


Chapter 1 – The Early Years – Independence [Cont.] ['67]

On to ‟67, and the theme of change was still prevalent. My sister‟s boyfriend, Noel, [who became my brother-in law, Nov „70] had begun to make regular visits to the house, along with his „gang‟ of friends. He, and his pals, were heavily into „scooters‟ and dressed in all the „Mod‟ gear of the period. As luck would have it, he would leave a pile of his latest „import‟ and „hard to find‟ singles in the house, while he‟d take my sister, Carol, out for the day! Oh what fun! Along with „Small Faces‟ and „Rolling Stones‟ albums, I was left to muse over rare Stax singles, listening to the sounds of Otis Redding, and Sam & Dave, along with a large collection of Blue Horizon artists. The best was „Peter Green‟s Fleetwood Mac‟.

Noel was very into guitar based music and had raved to me about the abilities of Peter Green, and a certain Jimi Hendrix. Once I‟d seen Hendrix play „Hey Joe‟ on Top of the Pops I knew what he meant! [Anecdote time] Noel tells me of a choice he had to make one evening, when taking Carol out to see a band. [Mar 23

rd „67] Jimi Hendrix was playing at the Southampton Guildhall, while Peter Green, then still

with John Mayall‟s Bluesbreakers, was playing at the Concorde Club, across town. He chose the latter. I‟ve never been able to decide if that was the right choice or not. What a dilemma! In my opinion, the chart „singles‟ of that year could truly be described as „classics‟. January began in style with the previously mentioned „Hey Joe‟ (Hendrix). There followed:- „Mellow Yellow‟ (Donovan), „Purple Haze‟ (Hendrix), „Arnold Layne‟ (Pink Floyd), „Waterloo Sunset‟ (Kinks), „Whiter Shade of Pale‟ (Procol Harum), „Itchycoo Park‟ (Small Faces), „San Francisco‟ (Scott McKenzie), „Flowers In The Rain‟ (The Move), „I Can See For Miles‟ (The Who), „Massachusetts‟ (Bee Gees) and „Nights In White Satin‟ (Moody Blues). Wow! Of interest, one of those tracks, „Flowers in the Rain‟ was to become the 1

st song played over a new,

legal, Pop Radio station. September marked the debut of BBC Radio 1, hosted by Tony Blackburn. History would show the Summer of ‟67 to mark the height of „Flower Power‟. The Monterey Pop Festival (16

th-18

th Jun ‟67) was headed by Jimi Hendrix and Otis Redding, along with a host of next generation

superstars e.g. Buffalo Springfield. This was closely followed by a 30 Countries‟ Live satellite broadcast beaming the Beatles debut of „All You Need Is Love‟. (25

th Jun ‟67) In that same month the Beatles

were to release their „landmark‟ album, „Sergeant Pepper‟s Lonely Hearts Club Band‟. Sadly, 10

th Dec ‟67, would mark the death of Otis Redding from a plane crash. A tragic loss at the early

age of 26. Me, aged 13 (1967) Lambretta LI 150 (1967)


Chapter 1 – The Early Years – Independence [Cont.] ['68]

In many ways „68 was musically very similar to ‟67. Flower Power and Hippies were still the „order of the day‟, but a harder „edge‟ crept into things. The Beatles began to experiment with Maharishi‟s meditation techniques, out in India. Elsewhere, hallucinogenic drugs (LSD) were becoming the norm, as bands searched for more sources of inspiration. The „singles‟ of that year boasted many fine tracks, this time with some new names appearing. January kicked off with „Pictures of Matchstick Men‟ (Status Quo), followed by „Bend Me Shape Me‟ (Amen Corner), „Dock of the Bay‟ (Otis Redding), „Marjorine‟ (Joe Cocker), „On The Road Again‟ (Canned Heat), Classical Gas‟ (Mason Williams), Light My Fire‟ (Jose Feliciano), „Race with the Devil‟ (The Gun) and „Blackberry Way‟ (The Move). Of note was Peter Green‟s success that year with „Black Magic Woman‟ (Apr), „Need Your Love So Bad‟ (Jul), and „Albatross‟ closing the year as the big December „hit‟. On the album front, the Beatles

closed the year with the release of the „White Album‟, a long time favourite of mine. I too, was changing. My bicycle had given me a lot of independence, in terms of getting about. However, in my head I had become much more independent. Now aged 14 years, I was beginning to argue with my parents on matters of choice, and the politics of the day. ‟68 was to find me taking on a new sport. I became „hooked‟ onto playing and watching tennis. I began free coaching lessons at school and quickly advanced to become part of the 1

st team. I remember

thinking I was doing well until I had to play the school number one player, namely John Woolhouse. Unfortunately, I quickly realised that he was in another league, as he would „hammer‟ me, each time we played. Despite this, we became good friends, and I went on to enrol, again for free, at a local private club. I continued to improve, but so did John. On the professional circuit, ‟68 saw the famous Wimbledon Finals going „Open‟, by allowing professionals to enter what was before a solely amateur event. I remember marvelling at the televised skills of Rod Laver as he beat Tony Roche.

‟68 also found me spending Saturday afternoons with Noel, watching my local football team, „The Saints‟, down at the Dell. Noel‟s parents had moved home to Bournemouth during the March, and rather than hamper his blossoming relationship with Carol, Mum very kindly allowed him to stay at Vanguard Road. This made planning trips to the Dell, and the playing of his record collection that much easier for me. During this period Noel and I became very much the „best of mates‟. However, this was much to the annoyance of Carol, who found every other Saturday was now „booked out‟. I had actually begun watching The Saints from the start of the „62/‟63 season, and have supported them ever since, but the „68/‟69 squad is the one I remember most. The SAINTS (‟68/‟69) Carol & Noel (1969)


Chapter 2

A Musician‟s Life For Me

[Jan ‟69 – Aug „70]


Chapter 2 – A Musician‟s Life For Me – The Guitar [„69]

1969 marks the „proper‟ start to my musical „career‟! I still enjoyed the radio pop „singles‟. The charts gave us „Heard It Through The Grapevine‟ (Marvin Gaye), „Pinball Wizard‟ (The Who), „The Boxer‟ (Simon & Garfunkel), „Man of the World‟ (Fleetwood Mac), „Living In The Past‟ (Jethro Tull), „Something in the Air‟ (Thunderclap Neman), „Lay Lady Lay‟ (Dylan), „Space Oddity‟ (David Bowie), „Delta Lady‟ (Joe Cocker), „Oh Well‟ (Fleetwood Mac) and „He Ain‟t Heavy‟ (The Hollies). Sadly, January saw the final live performance from the Beatles on the Abbey Road Studios‟ rooftop. The „Get Back‟ single was released in April, but after the „Ballad of John & Yoko‟ (Jun ‟69), it was clearly the end of the „fab four‟ as a group. For me, this was to be the year I switched on to listening to „serious‟ albums. My brother was just starting to buy LPs; his first being the Beatles „White Album‟ during the previous Christmas. Now he‟d purchased „Threshold of a Dream‟ (Moody Blues). These weren‟t pop songs. Exotic album cover artwork, along

with new instrumentation became the vogue. Noel was into more „progressive‟ styles and had purchased „Astral Weeks‟ (Van Morrison), and „Hot Rats‟ (Frank Zappa). My head was on fire! This „stuff‟ was never going to make the radio charts, but that didn‟t stop me needing more. Earlier in the year, the rock group „Cream‟ had played their last concert at the Albert Hall and it was shown on the TV. I was amazed at the intensity of Eric Clapton‟s

five minute long guitar solos! Yes, this was the direction I was keen to follow. During the previous two years, flower power and hippie culture had dominated. Festivals in ‟69 were not new, but the Woodstock Festival (Aug 29

th-31

st ‟69) was the „big one‟. The guitar was „King‟, and was

now „my thing‟. At the tender age of 15, at the end of that Summer of ‟69, and having been so inspired by Peter Green‟s „Need Your Love So Bad‟, I came to a momentous decision - a musician's life for me!

Hot foot, down to the centre of town, St. Denys, Southampton, I returned with my first steel strung acoustic guitar, plus a copy of Bert Weedon's “Play In A Day”. The guitar, a cheap and cheerful £5, was dreadful. The metal strings caused my fingers to bleed, and after one day with the book, I couldn't play a thing! However, that wasn‟t going to stop me. I was well and truly hooked. Graham, aged 15 (1969) Bert Weedon - „Play In A Day‟


Chapter 2 – A Musician‟s Life For Me – The Guitar [Cont.] [Jan '70 – Aug „70]

January 1970 arrived, and I needed money! (Saturdays at a local supermarket, Fine Fare, Bitterne) I‟d begun to spend Friday evenings at a local Youth Club in Woolston, Southampton, with my very good school pal, Pete Crawford. It was now necessary to have my own purchasing power to accompany my

independence. [My parents simply didn‟t have spare money] The Youth Club was interesting. It wasn‟t the snooker tables that had caught my attention, nor the female attractions on view ... (well, not really). No, it was the chance to hear some of my favourite chart tracks being played very loudly in this dimly lit room. I loved to hear the heavier guitar based tracks:- „Let‟s Work Together‟ (Canned Heat), „I‟m a Man‟ (Chicago), „Who Do You Love‟ (Juicy Lucy), „Spirit in the Sky‟ (Norman Greenbaum), „Brontosaurus‟ (The Move), „Green Manalishi‟ (Fleetwood Mac), „American Woman‟ (The Guess Who), „All Right Now‟ (Free), „Black Night‟ (Deep Purple), and „Paranoid‟ (Black Sabbath). Very heavy and very loud! Having buried my head into loud guitar based tracks for the early months of 1970, I still find it odd that an American, close harmony sounding group, completely grabbed my attention in the Apr/May period. The group was Crosby, Stills, Nash & Young, and I had no hesitation in choosing their „Déjà Vu‟ album as my first LP purchase. However, shortly after I returned to kind with „Led Zeppelin II‟ being my second purchase. By the August, my LP collection had grown to „Bumpers‟ (Island Sampler), „Crosby, Still & Nash‟ (1

st Album), „Smash Hits‟ & „Are You Experienced‟ (Jimi Hendrix), „Otis Blue‟ (Otis Redding)

and obviously „Peter Green‟s Fleetwood Mac‟. „Déjà vu‟ „Led Zeppelin II „Bumpers‟ [Of historical interest was the price mark on the ‘Bumpers’ LP. It’s marked as 29,11 in old currency. Britain introduced decimal coinage on 23

rd Apr, ’68, but didn’t banish the old until 15

th Feb, ‘71]

By August '70, with money saved from my Saturday job, I purchased a Bob Dylan songbook, along with my first „proper‟ guitar, £24, from “Beckett‟s Music Shop”, Southampton. It was a beautiful, nylon strung, classical guitar. [Kimbara] I learnt plenty of chords, but more significantly - no more cut fingers!

Oh, how proud was I, once I‟d mastered the chords and timing to „The Times They Are A-Changin‟. I now felt ready to face the public. (Well... ready to leave the bedroom.) My 1

st Classical (Kimbara) Learn to Play Bob Dylan


Chapter 3

Itchen College

[Sep ‟70 – Aug „72]


Chapter 3 – Itchen College – Pete & Barry [Sep '70 - Feb '71]

September came, and pleased with six good „O‟ Level passes, it was time to move up into the newly formed Itchen Sixth Form College. I‟d dipped on Latin & History, but that hadn‟t particularly concerned me. Apart from the sad news of Jimi Hendrix‟s untimely death (18

th Sep „70), this was already a happy

year for me. I was well into buying my own albums and was now a „real student‟, studying „A‟ Level Economics, English Literature & French - no longer the „school boy‟. 1970 was my „growing up‟ year. College was great, but the music scene was even better! I quickly fattened myself on a diet of „Ten Years After‟ (Cricklewood Green), „Chicago‟ (Chicago II), the wonderful „Tumbleweed Connection‟ (Elton John), and the sublime acoustic rhythms of „Led Zeppelin III‟.

Meanwhile, my guitar skills were improving all the time. This stood me well, when during one college break period, I introduced myself to another equally proud aspiring guitarist. Hello Pete May! Meeting Pete May via our Economic classes proved to be invaluable. It didn‟t take long before we found we had common musical tastes, and were roughly at the same playing level (basic!) We started to practice together, and within one month we had found another guitarist to join us – Barry Woolnough. I remember Pete and I thinking he was already pretty good as he was able to play in that Spanish flamenco style … even on the „inferior‟ acoustic guitar of his brother, Eric Woolnough. By December we had taken to lunchtime „jam‟ sessions at the College. I guess that was the „start‟. Our first real serious line-up. Me and Pete, both on classical guitars, with Barry, by Jan ‟71, now armed with a new Spanish guitar, courtesy of Minns Music shop, bringing his

classical / flamenco skills to the fore. Barry was the only one with any formal tuition behind him. [Ron Vardy - a local professional guitar tutor] As for the „pro‟ music scene - I had my head buried in the „Melody Maker‟ and the newly released weekly, „Sounds‟ (10

th Oct ‟70), checking out the latest gig diary dates for the major headline acts. The

Guildhall, Southampton, was a major venue for many „progressive‟ bands at that time. Jan ‟71 hosted

„Black Sabbath‟ / „Curved Air‟ (11th), and „Iron Butterfly‟ / „YES‟ / „Da Da‟ (21

st).

[Anecdote time] I went to the „21

st Jan‟ gig with Pete May, to see YES promote their first album (The

YES album), along with a very young 'Da Da' featuring the vocalists Robert Palmer and Elkie Brooks, with the mighty American band, Iron Butterfly, topping the bill. The whole show was so very, very long with each group taking „encores‟, that it was close to 1am before the finish. At that hour, all public transport had long since stopped. Pete and I thought nothing of walking the four miles home while we discussed those fantastic performances. Oh, how life seemed simple and straightforward then. Back to the band, and in particular, to my old school pal, Pete Crawford. He had taken much interest in our progress and with a little gentle coercion, completed our line-up (Feb ‟71), playing bongos. Yes, bongos! Looking back I can see how much we needed a steady beat behind the songs, yet at the time I guess we all thought Pete (Crawford) was along, just for the ride. Of course, in reality, the sum skills of the group were better than the sum of the individuals. Isn‟t that always the case? Whatever; the band was fun and it worked. We even decided on a name for the band. We became "Nevertheless". I've no

idea who came up with the name, but it really didn't matter. (It‟s funny how it seemed so important at the time)


Chapter 3- Itchen College – "Nevertheless" [Feb '71 - Jun '71]

Serious group practice, as the band "Nevertheless" now began. We spent College lunchtimes at Barry‟s, [Deacon Rd, opposite the College], and evenings at Pete‟s [Beauworth Avenue]. The competition between us was fierce, but healthy. We quickly found our own guitar playing styles. I was now very influenced by the finger-picking style of James Taylor, having been „blown away‟ by his playing, singing and writing skills on his album, „Sweet Baby James‟ (Nov ‟70). Pete and Barry were more taken by the skills of Paul Simon, although Pete and I did spend many evenings practising James Taylor‟s „Blossom‟, taken from a songbook of his that I‟d recently bought

[early „71]. As a band, we all loved attempting to play a 'hit' song from that period (Jan '71) - "Faithfull" by 'Marin, Welch & Farrar'. This was a lush, soft acoustic gem. It has a superb finger picking introduction, which we all endeavoured to learn. However, this all seemed a long way from the heavy electric guitar records I‟d been listening to. I guess the term „Folk‟ would best describe our sound. Of course, at this stage we weren‟t too good at listening to each other – just more intent on our own playing. [Never mind, eh? We all have to start somewhere.] The latest albums continued to provide much source of inspiration as I delved into my Saturday job funds to buy “The YES Album” [19

th Feb], “Aqualung” [19

th Mar], “House On The Hill” [Apr], “Mud Slide Slim”

[Apr], and “The Original Fleetwood Mac” [May]. It‟s clear from those purchases that my musical tastes were still within „Rock‟, whilst my playing remained firmly within the confines of soft folk. This was simply down to my inability to play anything too complicated at this early stage of guitar development. Of note on our TV screens, courtesy of the „BBC In Concert‟ series, Neil Young performed solo [26

th Apr

„71], whilst James Taylor performed solo [3rd

May „71]. I watched both concerts, completely in awe of

their skills. As a band we were steadily improving and had sufficient confidence to invite a new College pal, Doug Huxtable, to one of our lunchtime sessions. Doug was heavily into acoustic blues guitar and could turn

out those „Blind Boy Jefferson‟ guitar licks with seemingly little effort. Oh, how we marvelled at such skill – but undaunted, we continued, even managing to play our first gig (Jun ‟71) at a local primary school

[Sholing Primary, Sholing Rd]. Doug was there, ably covering up our lack of expertise! I believe his younger sister attended that primary, and hence the reason for the invite! [Gig Set included: „Colours‟, „I Will‟, „Guantanamera, and „The Boxer‟] We used to practice the Beatles track, „Here Comes The Sun‟, but our lack of technique on the finger-picking bits prevented us from performing that one live at that time.


Chapter 3- Itchen College – "Nevertheless" [Cont.] [Jul '71 - Aug '71]

Flush with success from out first live gig, we set about working on our own songs. But where do you

start? We chose the standard route of taking some classic blues patterns, although it wasn‟t actually a 12-bar blues, and adding simple words. The result:- our first composition entitled The Blues (Lockyer /

May / Woolnough) [Jul '71] Nothing spectacular there, but we evidently loved to practice that song again, and again, and again, .... During the College summer break, another of our pals, Tom Woolcock, recorded endless versions of

that song onto his mini reel-to-reel recorder. I‟ve spoken to Tom many times over the years, asking him to search through the attic of his parent‟s home for that tape. Maybe one day it will surface. For me, the rest of that summer period had me working full time at the Fine Fare supermarket to replenish my funds, ready for the new College year. However, I did find enough time to hitch to Clacton-On-Sea, to savour my 1

st Pop Festival, the „Weeley Festival‟ Aug 27-29

th.

[Anecdote time] Whilst at the supermarket, I met a new temporary recruit, who happened to have the

same musical tastes as me. We talked about the upcoming Weeley Festival, and both decided to hitch there for the fun. I must admit to being a little apprehensive as this was to be my first hitch hiking experience. We chose to take the minimum of cash, in case of theft, and without tickets we decided to „crash‟ the fence on arrival. Surprisingly it all seemed too easy as we made the 150 miles with only three car lifts and within about eight hours, during the Friday night / Saturday morning. Once there we had a three or four hour wait before the first band appeared. Just then, my new pal decided he needed the „loo‟. To my shock he ignored my advice to use the field, as everyone else had, and he chose to march towards the official toilets, some 500 metres away. The crowd was thick by now, and once he‟d left I focused on the stage acts. After an hour I began to wonder what had happened to him. He never did return, and I hitched home, alone, on the Monday. He didn't appear at the supermarket the following week, and I never saw him again. How bizarre. The main headline acts there:- Mott The Hoople, T.REX, The Faces, King Crimson, Colosseum, Curved Air, Edgar Broughton, The Greaseband, The Groundhogs, Mungo Jerry, Rory Gallagher, Quintessence, Stone The Crows, Van-der-Graaf Generator, Caravan, Lindisfarne, Al Stewart, Arthur Brown‟s Kingdom Come, Barclay James Harvest, Head Hands & Feet, Juicy Lucy, Status Quo, ..... phew. What an experience! Graham, aged 17 (1971) Weeley Pop Festival (Aug 27-29 '71)


Chapter 3- Itchen College – "Nevertheless" [Cont.] [Sep '71 - Oct '71]

September began brightly on our TV screens with a significant new programme. The Old Grey Whistle Test began its life (21

st Sep ‟71), hosted for its 1

st season by Richard Williams. [The 2

nd and 3

rd

seasons, hosted by Bob Harris, were to become a major source of inspiration for me and Pete.] On the professional gig scene, the Southampton Guildhall hosted „Cat Stevens‟ (17

th Sep), „Ten Years

After‟ (20th

Sep), and „YES‟, returning for 2 consecutive nights (27/28th

Oct). I well remember being deafened, along with Pete May „et al‟, at the „WHO‟ concert [19

th Oct „71], as they attempted to beat all

records for being the loudest rock band on the planet! In the album charts there were some great new releases. „Imagine‟, „Every Picture Tells A Story‟, and „Teaser & The Firecat‟ - all released Sep/Oct

‟71. For the band, we quickly settled down to Year II at Itchen, and with the memory of our first gig still fresh in our heads, we arranged to play at our local College pub, „The Merry Oak‟. [Sep „71] This was to be our

1st Pub gig. Amplification and other ideas soon filled our heads.

Jonathan Howard, a good friend of Pete Crawford, had often joined us for rehearsals … as our unofficial „roadie‟. His father had the distinction of being a well known Bass player in his day! With this in mind, we persuaded Jonathan to „try‟ his father‟s bass and „play along‟, in order to fatten our sound a little. OK, the bass guitar was a lovely Hohner, [Paul McCartney style] but unfortunately, Jonathan‟s playing didn‟t quite match up. It didn‟t really matter though …. it was fun trying! Undaunted, we patiently rehearsed and set about learning the new skill of, „standing up to play‟. On the „plus‟ side, we did manage to borrow his father‟s guitar amp, which we used as a small P.A. Well the big night arrived. We were well 'fired up' with the adrenaline pumping. If I remember correctly, we had two people there at the start of the gig …. and by the end of the evening ….. just one remained! [I think he was drunk] I also seem to remember using Ian Howard‟s semi-acoustic jazz guitar for that gig. Was there no end to our inventiveness? [No comments please] The Set-List included: Colours, I Will, Guantanamera, The Boxer, Never Comes The Day, Fire & Rain, Here Comes The Sun [still with a few wobbly finger-picking bits], You‟ve Got To Hide Your Love Away, and of course, our own composition, The Blues. „The Merry Oak‟ (Spring Rd / Deacon Rd) Jonathan Howard

My memory fails me here, but Barry has reliably informed me that we arranged a follow up gig, again at The Merry Oak, some three weeks later. [Oct „71] This time we added the song “While My Guitar Gently Weeps” to the set-list. However, I believe I may have been just a little over confident in my playing ability, as I recall completely hashing the Clapton solo bit! [That bit I do remember] Yes, the new College Year had started well. Another good friend of ours had the fine sense to invite one and all to his birthday celebration. Dave Westerman‟s 18

th Birthday “bash” (Sep ‟71). I seem to recall

the birthday „do‟ being quite outrageous. Pete and I were to write a song, specifically about the bits we could remember, some several months later. Yes, parties, beer and gigs did seem to sum up our social scene at that time!


Chapter 3 - Itchen College – Social Scene [Nov '71 - Dec '71]

Putting music to one side for a moment, there was now an interesting female „distraction‟ in my life. Up until this period I hadn‟t been serious about girlfriends – my sole thoughts and energies were all ploughed into music! Yet, by the November, I‟d met, and within two weeks, had fallen madly in love with Anne West. As the months passed I spent less time with the band and more with Anne, much to their annoyance. [Anecdote time] Sometime during April / May ‟72, at a band rehearsal, Barry displayed some

disappointment with me. He felt that I‟d become too besotted with Anne and was not pulling my weight in the band. I can‟t recall my reaction to his words. Barry and I now look back and laugh at what he amusingly refers to as my „Yoko Ono‟ period! Meanwhile, back to November ‟71, and Barry was now heavily into his Spanish guitar playing style. He had 'opted' for a College Spanish Language trip to Alicante [15

th – 19

th Nov 71], and began to practice

some Spanish songs with some of his group peers. Among them was Amanda Brown. She was from the Lower 6

th, like Anne, and was also a good pal of Anne. We were to later record some tracks with

Amanda. Anne West Amanda Brown

Continuing with the social scene, December ‟71 saw the College production of Brecht‟s „Caucasian Chalk Circle‟. Barry had secured a major part in the production, along with two other pals, Denis Murphy and Peggy Hall. We were to meet up with them later on our musical voyages. [Of minor note: I had

attended the same „Heathfield‟ Primary / Junior school as Denis, many years before, but we‟d not been in the same social circle at Itchen until then] Denis Murphy Peggy Hall

And what of Pete Crawford and Pete May, I hear you ask? Pete Crawford began to spend time with Peggy Hall, though I never realised at the time! [Peggy told me many years later] Pete May was busy getting into the new YES album, „Fragile‟, along with „Led Zeppelin IV‟. And why not!


Chapter 3- Itchen College – Song Writers [Jan '72]

The New Year kicked off in fine style, from a professional music chart perspective. Jan / Feb / March gave us the „hits‟, „Horse With No Name‟, „Meet Me On The Corner‟, and „Heart Of Gold‟, respectively. On a local level, the Southampton Guildhall hosted „Wishbone Ash‟ (Feb 18

th), and „Rory Gallagher‟

(Mar 27th). On an even more local level, Itchen College hosted its 1

st Rock gig with the Woolston band,

„Sweet Poison‟ (Feb ‟72), followed by a good pal and Itchen colleague, Al Cooper (Mar ‟72).

For us, the early months of ‟72 saw us performing again. This time at King‟s Somborne (15

th Jan ‟72).

This was for Barry‟s Mum & Dad‟s 25th Wedding Anniversary, with the gig being at Barry‟s Grandmother‟s

pub in the New Forest. Barry followed this by arranging a re-union evening for the „Alicante‟ crowd, and performed with Denis Murphy and Amanda Brown, as a group named „Sol y Sombra‟. For the band, we decided it was time to start writing our own songs; with the intention of recording them seriously. We had begun to tire of practising „cover‟ songs and had spent much of December putting our own compositions onto paper. Thanks to Jonathan‟s Dad‟s tape recorder [a very professional looking beast… a Panasonic I believe] we came up with our first „real‟ batch of recordings, at Jonathan‟s home. [Deacon Crescent - Jan „72] Listening back, they „plod‟ a little, but we were so proud of them. Key: Numbers shown before each song title, denote the chronological sequence, Numbers shown after

each song title, denote the Version No. of each recording. Version 0 indicates only one version ever recorded. [i.e. no other version] (001) MUSIC IN MY LIFE (1) [Jan „72] (Lockyer / May / Woolnough) Pete May on lead vocals. Barry is very strong on harmony, and 'something else' on maracas. [Only joking Barry] This was our very first 'serious' recording. I particularly like the laughs and cheers at the end of the track. That summed up the fun mood at the time. (002) THE LIFE I USED TO KNOW (1) (aka “I‟m Glad That I‟m Here”) [Jan „72]

(Lockyer / May / Woolnough) Pete came up with good chord changes here. That was to be a sign of things to come from him. Pete is on lead vocals throughout this period. [Pete and Barry shared vocals at this point as I had no confidence in my singing whatsoever] Barry is singing harmony, and I‟m on nylon string guitar. I still like this song. The bongos go particularly well and there were definite signs of arrangement here. I think we were particularly proud of this one. (003) SOMEONE (1) [Jan „72] (May) Another school pal, Nigel Clemons, had come up with the original ideas here. Pete remembered the

chords from 'jamming' sessions with Nigel, and later put the lyrics and melody to it himself. Pete and Barry share the vocals throughout. This recording certainly brought out the skills of Barry‟s finger-picking style. His 'Ron Vardy' guitar lessons were proving their worth. (004) THE BLUES (1) [Jan „72] (Lockyer / May / Woolnough) The only people who could ever enjoy this recording were the band. This was a seemingly endless 'jam'. We‟d been practising this non-stop since Tom had recorded us in the summer of ‟71, and we still weren‟t tired of it. I play my usual 'lead nylon guitar', while Barry plays bass notes with his acoustic guitar. He also adds harmonica towards the end. I suggest a 'fast forward' here - unless you have the patience of a Saint.


Chapter 3- Itchen College – Song Writers [Cont.] [Feb '72]

Those Deacon Crescent recordings had really fired us up, and we all felt that song writing was the way forward for the band. LOST CALL UP THE BAND (0) [Feb „72] (aka “Busking”) (Lockyer / May / Woolnough) This was a good track to „loosen up‟ with. Nice „jangly‟ chords etc. This was in the style of Lindisfarne (Meet Me On The Corner) - very much our type of sound at that time. I believe the only recording made was at Barry‟s house on a cassette machine. Copies were made …. But, alas, all sadly lost! The next three songs all exist, courtesy of Pete May‟s original lyric pad, in full wording and chord symbols, but for various reasons were never actually recorded! NEVER RECORDED SECRET OF THE MOOR [Feb ‟72] (Lockyer / May / Woolnough) NEVER RECORDED PERFECT WORLD [Feb ‟72]

(Lockyer / May / Woolnough) NEVER RECORDED SLAVE IN CHAINS [Feb ‟72] (May / Woolnough) (005) TRIBUTE TO OUR LOCAL (0) [Feb „72] (Lockyer / May / Woolnough) The title refers to our local pub, the „West End Brewery‟. After most evenings spent writing and practising at Pete‟s house, Beauworth Avenue, Pete and I would find the time to walk down to this pub, often as not to discuss that evening‟s efforts. Barry and Pete Crawford would sometimes make the journey, although that was a long trek from their respective homes. As we spent so much time at this pub, it seemed fitting to remember it this way. These days it‟s best to describe this track as a „feel good‟ track. One for the band members to enjoy I think. [Anecdote time] I lost touch with Barry after summer ‟75, and we didn‟t meet up again until 2003, some 28 years later! Whilst we were joking about the old days, I was busy verifying lots of info and dates, for this book. Barry asked me about this track. I had completely forgotten it ever existed, so much so, I couldn‟t remember how it began, even after he gave me the title. Within seconds he was singing it aloud, word for word, whilst I hastily scribbled down the lyrics. To my astonishment, I found the original recording, three years later, in 2006. Utterly priceless! [Barry had in fact remembered every word correctly!] West End Brewery (photo 2003) Beauworth Avenue


Chapter 3- Itchen College – Song Writers [Cont.] [Feb '72 - Mar '72]

(006) THE PARTY SONG (1) [Feb „72]

(Lockyer / May / Woolnough) This song was fun. The lyrics refer to the „Dave Westerman‟ 18

th Birthday „do‟, from the previous

September. Pete had „found‟ a new chord to play, using open strings, but half way up the fret-board. [We didn‟t actually know it was the chord A9, until later – to us it just sounded good.] Pete takes lead vocals, whilst I attempt lead guitar riffs on my nylon strung classical guitar. Barry lets fly with Spanish chord flurries at the busy bits! ..... At this point, Jonathan was still actively present at rehearsals. It was time to record again - but this time, with Jonathan adding his Dad‟s Hohner bass guitar ..... despite the fact that he couldn't play! He is way out of tune, but it didn‟t really matter, we still had fun. (007) SOMEONE (2) [Mar „72] (May) Pete and Barry on shared lead vocals, and guitars. Pete Crawford and me taking the drum and other guitar spots ..... and of course, Jonathan on Bass! (008) THE BLUES (2) [Mar „72]

(Lockyer / May / Woolnough) Pete and Barry, again on shared lead vocals, Pete Crawford on bongos and me, unusually adding harmonica and 'kazoo' at various points ...... and of course, not forgetting Jonathan on Bass. ..... As an aside, Pete and I were glued to the TV each Tuesday evening, after the pub, to watch the OGWT. [Old Grey Whistle Test] It's clear to me that those influences from such remarkable 'new talent' must have influenced our playing and writing style at that time. However, I believe we still hadn't mastered enough writing or guitar skills to identify our own sound! During Mar '72, we were completely in awe of a performance from 'Judee Sill'. She was a new 'name' to us, and also to Pete's brother, Bob May. The following week he bought her single, "Jesus was a cross

maker", which we played continuously. During the same month came another great performance, this time from one of my favourite bands - 'Audience', performing 'Thunder & Lightning' and 'Buy Me An Island'. I believe both sessions have been lost or wiped over by the BBC, which just leaves the memory to remind ourselves of those great times!


Chapter 3 – Itchen College – "Roche Moutonnée" [Apr '72]

By now we were confident and ready to play another gig. This time we wanted to accurately get across our acoustic folk sound. But how? New equipment was the answer! Pete and I invested in specially adapted pick-ups that would fit across acoustic guitars. This was some time before purpose built transducer pickups became the 'norm' as is today. Not only was it one hell of a job to actually fit the damn things, for fear of scratching the guitar face, but when finally secured, along came the eternal problem of wrestling with feedback noise and 'hum'. I invested in a Bird 15 watt Combo valve amp. I wish I still had it, as it would now be worth a fortune! Pete purchased a red transistor amp; the make unknown. Pete Crawford kept faith in his bongos, so no change there. As a group we invested in microphones, stands... and a tambourine! Suitably armed with amplification, we were now ready to take on the world! The world, eh? Well, it was actually Bitterne Congregational Church Hall, Dean Road. The gig was arranged courtesy of Jonathan Howard‟s mum, who was on the Church committee. We were 2

nd on the bill - the top act being „The

Riversiders‟ who boasted a fine female lead singer, Peggy Hall, known to us through Barry from the

College play. Pete was intent on finding a new name for the group. After searching through the college library dictionaries, we were now to be known as 'Roche Moutonnée'. [Pete drafted a fine poster for the gig

but I‟ve no idea where it went?] One other quirky piece of minutia: I clearly remember us sitting to play throughout the gig. It must have seemed more like a recital! The gig was never recorded, but the set included:

Bitterne Congregational Church Hall, Dean Road, (13

th April, ‟72)

Colours (Donovan) Fire & Rain (James Taylor) Someone (May) Never Comes the Day (Justin Hayward / Moody Blues) Raviole (Howard Werth / Audience) - Guitar solo from me Romance for Guitar (Traditional) - Guitar solo from Barry I Will (Lennon / McCartney) Call Up The Band [Busking] (Lockyer / May / Woolnough) Music In My Life (Lockyer / May / Woolnough) The Life I Used To Know (Lockyer / May / Woolnough) The Blues (Lockyer / May / Woolnough) Bitterne Congregational (early 70‟s) Bird 15 watt Combo valve amp


Chapter 3 – Itchen College – "Roche Moutonnée" [Cont.] [Apr '72 - May '72]

Immediately following the Church Hall gig, I actively spent more time with Anne West. [My 'Yoko Ono' period, as Barry amusingly reminds me] I had even switched my Saturday supermarket job to work on the petrol forecourt of her Father's Texaco garage! However, I still kept a keen interest on writing with the band, but Pete May and Barry were more than capable of writing as a duo. In fact, the band teamed up with Denis and Peggy. They temporarily renamed the band „Litany‟ (Apr „72), and busily rehearsed for a

new pub gig, without me. [The "Chamberlain Arms" I believe.] I happily appear on the next three tracks, playing my usual lead nylon guitar style, but had no hand in their writing. (009) SUNSET (1) [Apr „72]

(May / Woolnough) This is a really fine song. Pete is strong on lead vocals here whilst the bongos, once again, work extremely well. [A small amount of the start is missing which accounts for the fade in .....] (010) THE CLIPPER (0) [Apr „72]

(May / Woolnough) Pete May on lead vocals with me and Pete sharing 'finger-picking'. Barry is playing the tin whistle for the most part, and then adds arpeggio chords at the end of the track.. I remember Pete Crawford patiently sitting in the corner of the room waiting to hit the bongos just once at the end of each verse. I wonder what went through his mind as he counted the number of rest bars. (011) CONTRAST (0) (aka THE SUN HAS LEFT THE LAND) [Apr „72]

(May / Woolnough) A 'longish' piece ….. with a slow intro (and outro). Of course, the band all knew where the song was going, (we did .... didn't we?) [That was actually very typical of us at the time. We simply played for our own enjoyment. We never gave a thought to anyone possibly listening in] ..... The following two songs were never recorded, but do appear in Pete May‟s lyric pads. Even though I vaguely remember the one with my name credited, I have no strong recollection of either. NEVER RECORDED NUCLEAR POWERED PENNY WHISTLE SONG [Apr „72]

(May / Woolnough) NEVER RECORDED SOMEBODY SOMEWHERE [Apr „72] (Lockyer / May) ..... and now for 3 LOST cassette tracks which hopefully may re-appear one day .... LOST EXPRESSION(S) [May „72]

(Lockyer / May / Woolnough) Pete and I were to re-make this track a few years on, but at this point Barry remembers the song as an attempt to get the audience to listen to us 'seriously'. (which is exactly what the lyrics say!) LOST SAILING ALONG [May „72]

(Lockyer / May / Woolnough) This was a laugh-a-minute as we deliberately set out to write a „Vaudeville‟ 1920‟s music hall style song. [And I believe we succeeded] Yes, it‟s difficult to forget lyrics such as “Sailing down the river, not a care or a whim – Soaking up the sunshine, might jump in for a swim – Shoo be doo – Shoo be doo, wah”. LOST LISA, OH LISA [May „72] (Lockyer / May) Another light-hearted offering ..... serious fun!


Chapter 3 – Itchen College – "Roche Moutonnée" [Cont.] [May '72 - Jun '72]

(012) THE PARTY SONG (2) [May „72]

(Lockyer / May / Woolnough) I'm not sure why we re-worked this song as there is nothing radically different from the first version. I believe Denis Murphy is there with us, and perhaps it was just an occasion for fun! The start of the recording is missing, but then we hear Pete May on lead vocals, me and Pete Crawford in our usual lead guitar and bongo slots, along with a very long crescendo ending courtesy of Barry's excellent flamenco guitar flurries! (013) SUNSET (2) [May „72] (May / Woolnough) An incomplete recording - a very light hearted rehearsal. Pete and Barry try out new harmonies towards the end. I try playing harmonica, while Pete Crawford is on sticks and maracas. The sound of a 'budgie', tweeting in the background, places the recording at Vanguard Road. There is also a familiar sound (to us) from Denis Murphy adding his cry of "Oh, Yeah", which ably finishes the piece. ..... During May, we were asked to perform a 2

nd Bitterne Congregational Church gig. This turned out

to be a spectacular affair, aided by backing support from a young church choir. (014) SUNSET (3) [May „72]

(May / Woolnough) This recording was given to the choir to use for their rehearsal, and as such became another version. The start of the song is missing, but the quality of the remainder is good. Barry joins Pete on harmonies, whilst I add harmonica to the track. Of the gig itself, I recall Barry taking lead vocals on „Sailing Along‟, proudly wearing a striped jacket and straw hat! We also performed „The Party Song‟, „Contrast‟ and „Expressions‟ from our newly written

set. Sadly, no „live‟ recording was ever taken, so the opportunity to hear the choir was lost. What a shame that video recording machines weren‟t cheaply available at that time. 2

nd Church Hall Gig Set [May ‟72]: - The Party Song, Sunset + Choir, Someone + Choir, Call Up The

Band, Music In My Life, The Life I Used To Know, Contrast, Sailing Along + Choir, Tribute To Our Local, Expressions. [Interestingly: all of our own compositions] ..... Soon after the Church Hall gig, Barry asked Amanda Brown to guest with us on the following recordings for added variety. (015) SUNSET (4) [Jun „72]

(May / Woolnough) A lot of this track is missing - the bits that remain have Pete May on lead vocals and Barry on harmony. Amanda Brown is heard singing "la la" on the middle section. (016) THE LIFE I USED TO KNOW (2) [Jun „72]

(Lockyer / May / Woolnough) Pete May and Amanda Brown share the vocals throughout - however, the song is incomplete. (017) SOMEONE (3) [Jun „72] (May) Me, Barry and Amanda Brown share the vocals here, with Pete May content to rest on rhythm guitar.


Chapter 3 – Itchen College - End of an Era [Jun ‟72 - Jul '72]

Now would be a good time to put some faces to previously mentioned names, and to introduce some new pals who made this era so memorable:- Doug Huxtable Nigel Clemons Tom Woolcock

Dave Westerman Aidan Jarvis Hazel Edmondson

Of course, the June period was completely dominated by „A‟ level final exams. Unfortunately, for me, things were not good at home, and my College studies had taken a hammering. Thoughts of long term career planning were simply non-existent. My head was elsewhere. The previous 6 months of „drifting‟ and leaning on Anne West‟s family for home support, had blown my chances. I had simply left it too late to ramp up my studies. Whilst I always believed I „had it in me‟, this was just too big a hill to climb, and with my state of mind being best described as „fragile‟, I simply gave up the chase. My results were a complete disaster. I even remember failing to actually sit two of my papers because I was so convinced that my fate had already been sealed! OK, so my „A‟ level results were „shot‟. My family reacted with their usual „null‟ reaction. Anne‟s family were very sympathetic, and thanks to her father, I spent the August working full time at his garage. Not quite a career, but from where I stood, it was good to have something solid to concentrate on and it kept me active whilst I thought about sorting my future! In contrast, I recall that August being particularly pleasant. I spent many relaxing evenings with Anne, often listening to Neil Young‟s „Harvest‟. That had been my gift for her July birthday. We also spent

several Sundays, with her family, messing around on their boat, which was moored up the river Hamble. July also marked the 18

th birthday for Pete May. I recall him buying an „Hitachi‟ cassette recorder – which

was to benefit us both, enabling many ideas to be recorded during our following musical „adventures‟.


Chapter 3 – Itchen College - End of an Era [Cont.] [Jul ‟72 - Aug '72]

As for the band: we managed one further gig at the Merry Oak [Jul ‟72]. This time we performed a new track from our growing repertoire, namely a cover of Don McLean's „Vincent‟. This had reached number 2 in the charts in Jun ‟72 and the finger-picking guitar style was „right up our street‟. Finally, to say goodbye to those fantastic carefree days at Itchen College, that summer was full with frequent trips out to the „Queen‟s Head‟ pub, and the 'White Buck Inn' at Burley, New Forest. Me, Pete, Barry, Tom Woolcock, Nigel Clemons, Dave Westerman, Aidan Jarvis, Hazel Edmondson … and I believe Linda Bowers, another College pal (who drove a White Van), all enjoyed watching a fine „cover band‟ [The Blue Banana Band] play on Sunday evenings. There, we would drink ourselves into a stupor - as all students do! That fine social end to my College days certainly helped me maintain some sense of balance, whilst I continued to struggle to come to terms with my results failures! Oh, how I needed a good September. 'Roche Moutonnée', at the close of our Itchen College days, along with our major influences at the time:

Graham Lockyer Pete May

Peter Green, Bob Dylan, James Taylor, Beatles, Beatles, Led Zeppelin, YES, CSN&Y, Jimi Hendrix, Jethro Tull The Who

Barry Woolnough Pete Crawford

Simon & Garfunkel, Beatles America, Cat Stevens, Chicago, Cat Stevens Lindisfarne, Gordon Lightfoot

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