ROCK LEGENDS AT ROCKFIELD - Extracts from chapter 8 -The 80's

LATEST EXTRACT FROM "ROCK LEGENDS AT ROCKFIELD" by Jeff Collins --New book published on September 15th by University of Wales press.

Here are three extracts from chapter nine which focuses on the 80's.
The first extract features Ian NcNabb and the Icicle Works, The second features The Simple Minds encounter with Iggy Pop and David Bowie at Rockfield plus a food fight while the latst extract is about The Pogues time at the studio.
Hope you enjoy them.

CHAPTER EIGHT: The 80’s usher in a new breed.
 
The 1970’s had cemented Rockfield’s place in the history of rock. The legacy left by bands like Black Sabbath, Queen, Rush, Judas Priest, and Motorhead had put the Welsh studio firmly on the musical map. But as the 70’s drew to a close, and the dawn of the 80’s approached, Rockfield’s appeal would spread to a younger generation of bands. Adam and the Ants, T’Pau, Echo and the Bunnymen and Simple Minds would head to South Wales as part of a new wave of pop music wanting to embrace the Rockfield experience. Not all of these bands were in awe of the famous rock stars, who had gone before them. Many were finding their own path and Rockfield simply filled their recording needs. One such band was The Icicle Works. Lead singer Ian McNabb explains why they chose Rockfield to record their first album in 1983.
‘We were like a second generation Liverpool band. We came up behind the likes of Echo and the Bunnymen and Teardrop Explodes. And they’d all worked at Rockfield with the likes of Ian Broudie from the Lighting Seeds. So we thought it was a mythical place. We’d never made an album before and, Hugh Jones, who produced our first record, wanted us to go there. And we thought “Wow, that’s where the Bunnymen, Teardrops and guys like those worked.”  We’d never done an album before, and going away to stay in a cottage in the country for a couple of weeks seemed like an incredibly exciting thing to do when you’re 20.’
***********************************************************************The most memorable part of the recording process for The Simple Minds was meeting David Bowie. He was at Rockfield to produce a new album for Iggy Pop called Soldiers. And they were recording it in the studio next door to the star-struck Glaswegians.
‘David Bowie is a hero of the Simple Minds, and Jim Kerr in particular,’ says Bruce Findlay, the band's manager at the time. ‘One day he just knocked on the studio door, and asked if we could do him a favour and sing on one of the songs he was doing for Iggy. I remember him saying to the band in that distinctive voice of his “Do you fancy coming in and singing on this song called Play It Safe?” The band were over the moon! They had to sing a line which went: “I want to be a criminal – play it safe!” They tried various ways to do it, including shouting it. But in the end Bowie said to them, “Look guys, can you try to sing it with an accent, so it sounds like me?”   So these lads from Scotland put on their best cockney accents and were standing in the studio impersonating David Bowie as they sung the line “I want to be a criminal.” It was hilarious.’ ------  And the Scottish band certainly made themselves at home at Rockfield. They worked hard in the day and played hard at night. Producer John Leckie remembers that being with the band was fun. ‘It was all a bit crazy. There used to be a bit of a tradition of food fights at Rockfield, particularly involving custard pies and trifle. And this kind of reached a peak with the Simple Minds. Every night at mealtime, the caterers brought in a more extravagant dessert and fancy cream cakes. Almost like an incentive for us to fling them at each other. I’d always escape before it happened. As soon as I’d finished my main course, I’d run and hide and then I’d come back.  And you’d see the dining room dripping in trifle – it would be running down the walls – it was everywhere. I can remember seeing Jim Kerr and Charlie Burchill coming in and actually cleaning up after the band as they were so ashamed that they’d made a mess of this room. They both had the mops out and were wiping the walls down. I think they were worried in case Kingsley (Ward, Rockfield's owner) found out what they’d been up to.
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The rock and roll lifestyle continued at Rockfield as the 80’s started to drift into the 90’s with the arrival of Irish hell-raisers, The Pogues. Paul Cobbold was asked to engineer their fifth album, Hell’s Ditch, working with former Clash star Joe Strummer, who was to produce the record.
‘I was never really into the Pogues. I’d just never enjoyed their music,’ Paul told me in a very ‘matter of fact’ voice. ‘I mean, Shane McGowan - what sort of a character is he? But inevitably I ended up working with them. Joe Strummer was producing them and I’d never been a big punk fan. I remember Andrew Lauder, who worked for United Artist Records, coming up to me when the Stranglers were at Rockfield a few years earlier, and saying to me “This is what’s coming Paul!” But I was wrong about The Pogues. These guys were great and it turned out to be the most enjoyable album I’ve ever worked on, for a number of reasons. I remember one day Joe Strummer poking me and shouting “For fuck sake press the record button!! Do you realise how honoured you are? They are ALL in the studio, at the same time, playing the same fucking song!!!” He later told me that the last couple of albums had been “overdub city”, because there had never been more than 2 members of the band in the studio at the same time. So the albums had been made up by recording the band separately and then dubbing all the parts together.


Next time - Chapter Nine ROBERT PLANT

If you want to read more of my blogs (with pictures) please go to rockfieldbook.blogspot.com

ROCK LEGENDS AT ROCKFIELD by Jeff Collins is out on Sept 15th and is now available for pre-order from Amazon and all good book stores, including Waterstones, WHSmith, Wal-Mart and Tescos Etc etc.

Killing For Company - Live review from Bristol June 12th

KILLING FOR COMPANY -- Live at Thekla Social
June 12th
(ALL PICS BY ANDREW PRITCHARD)
The latest outing for Killing For Company saw them arrive a popular music venue -- a boat moored in the historic Mud Dock area of Bristol -- called Thekla Social.
A few drinks and some food saw the band gain their sea legs on the upper deck. The actual venue - below deck - was more cramped, while full of character. But more than a few nervous glances were cast as people noticed the lack of port-holes and exits. Occasionally you'd see people's eyes glaze over, and a unconvincing smile on their lips, as their thoughts drifted to the ending of James Cameron's blockbuster Titanic.
But all thoughts of nautical disasters were cast aside, as the good sized crowd for a tuesday night, were warmed up by an energetic set by the band Loci and a heavy riff-fest from Welsh metallers Ectospazz.
10-20pm.
Killing For Company take to the stage and blaze straight into She Would Wait - an excellent anthemic opener with its hook filled chorus, which won the crowd over straight away.
That ploughed into the download single Enemies before moving onto The Boy Who which is as near as dammit the perfect rock song. Steve Williams 70 miles an hour bass riff is eventually joined by Andy Williams and Richie King's clanging guitar chords as Greg Jones sings one of the catchiest verses ever --- followed by a real sing-along chorus. By the end of this song it was game over, as the band had successful wowed another set of loyal followers.
For The Taking and Reasons saw the band continue in top form. The stylish playing of lead guitarist Andy Williams impressing all while Greg Jones in particular was growing in confidence and stature with every song. While hanging from the ledges or clambering across the front of the speakers, the singer made use of every inch of the stage in captivating style. His banter in between songs got longer as his confidence grew. His humour as enthralling as his stage presence.
For Secrets Of Empty Bottles it was the turn of rhythm guitarist Richie King to step to the fore. His sparkling, chiming and hypnotic riff was the core of this song. It shimmers and shines as the the rest of the band add layer by layer of melody to make this song the perfect future single.
Richie's style bears more than a passing resemblance to that of Pete Townshend in the way he throws his guitar in violent strokes around his tall thin frame while striking poses that wouldn't have looked out of place on a 70's Who tour.
Richie's playing is at the heart of this band -- the framework for the break-neck bass playing of Steve Williams, the delightful guitar sketches of Andy Williams and the frenetic and powerful drumming of Stuart Cable. Stuart’s drumming is starting to resemble that of John Bonham. And I don’t say that lightly. But like the Zep legend, Stuart pounds his drums with a savagery and ferocity that looks like his life depends on hitting each note as hard as he can. He pounds the skins so hard it’s a surprise they don’t break or run for their lives screaming for mercy!!
Soon the band reach the final song Say About Me. Greg sings the chorus to the audience and tells them they have to sing along. When he’s satisfied that the crowd know the words and when to come in, Greg announces “Bloody Hell! They’re better than me!” and asks the sound guy to hand microphones to everyone in the audience. The song is the archetypal anthemic tune and a rousing way to finish the set.
Once off stage, the band are mightily pleased with their performance. “That’s our best gig yet!” beams Steve Williams proudily. “I know we played a good gig because my nipples are itchy” declares Andy Williams. “My nipples are always itchy after we play a good gig!” No-one enquires further but Andy’s nipples are right. It was a very good gig. It’s amazing to think this was only Killing For Company’s seventh gig. They play with a tightness and understanding that makes it look like they have been on the road together for years. Unbelievably they will get even better. When they play next, this is a band not to be missed.

Jeff Collins

ROCK LEGENDS AT ROCKFIELD by Jeff Collins is published on Sept 15th. It’s now available for pre-order on Amazon and all good bookstores. ROCK LEGENDS AT ROCKFIELD is a humourous, bizarre and fascinating tale of the recording of some of the greatest rock albums ever at the legendary Rockfield Studios.

Fantastic new photos featuring The Who and Killing For Company

CHeck out some great new shots of The Who and Killing for company at The Liberty Stadium on June 1st (both backstage and in performance)

Also some great backstage shots of Killing For Company as well as on stage at The Point in Cardiff a few days earlier.

There are a few tasters here -- the shots were taken by ANDREW PRITCHARD.

Check out the pics at www.myspace.com/rockfieldbook


Hope you enjoy them.

Jeff Collins

ROCK LEGENDS AT ROCKFIELD - Extracts from chapter 7 Judas Priest, Gillan and Rush

The latest extract from the book ROCK LEGENDS AT ROCKFIELD by Jeff Collins --
Chapter Seven -- Judas Priest, Ian Gillan and Rush - Legendary names descend on Rockfield.

(Pics - Top -Rockfield Entrance. Below that: Judas Priest have dinner at Rockfield. Then: Rob Halford in the studio at Rockfield. 4th Pic down: Rush. Final Pic: Ian Gillan (Taken by Andrew Pritchard)

Here are three extracts. The first features Judas Priest. It has the band's manager David Howells talking about the chnages he suggested when he first took over the band.
Then in the second extract Ian Gillan Band guitarist Ray Fenwick talks oh his time with the Deep Purple singer. Then in the third and final extract Geddy Lee of Rush talks about the making of Farewell To Kings at Rockfield.
Hope you enjoy them.

Chapter seven extracts:

'They were terrific' says David Howells of Judas Priest. 'So I signed them to Gull Records, but I made a couple of suggestions. Firstly, that they should add a second guitar player and go for that twin lead guitar sound. It was following the format of another band I’d signed called Wishbone Ash, but no-one had yet done it in Metal. And guitarist K K Downing did a great job and found Glenn Tipton and it took shape from there. I also suggested that Budgie and Black Sabbath producer Rodger Bain work with them.’
Howells also found the cover for their debut album Rocka Rolla in a real stroke of good fortune. That slice of luck occurred when he bumped into a friend of his, art designer John Pasche, who is best known for creating one of the most famous and iconic images in rock music: the Rolling Stones big red mouth with its protruding tongue back in 1971. For that work, which first appeared on the inner sleeve of the band’s album of that year Sticky Fingers, Pasche was paid 50 pounds. The success of the design saw the band reward him with an extra 200 pounds a few years later. The Stones own its copyright, but Pache recently sold the original artwork for almost half a million pounds.
David ran into the designer in London one day and after ending up in a pub for a quick drink, the Gull Records boss recalls asking him about a package he was carrying. ‘It turns out he just come back from Mick Jaggers’ house. He’d gone to show him his latest design for the Stone’s next album. The artwork depicted a metal coke-style bottle top covered in melted ice drops. But Jagger rejected it. So I asked if we could use for the first Judas priest album. I thought the whole idea of the metal cap with Rocka Rolla scrawled across in 50’s style writing was such a strong image. John agreed and I later asked the band if they would write a song called Rocka Rolla. So it one of the rare cases of an image influencing the choice of song as opposed to the other way around.’
***********************************************************************
Ian Gillan joined his former Purple band-mate Roger Glover for a live performance of The Butterfly Ball at the Royal Albert Hall along with fellow guest vocalists Ronnie James Dio and David Coverdale. It was there Gillan met up with guitarist Ray Fenwick, bassist John Gustafson, and Keyboard player Mike Moran. They would form his first solo group: The Ian Gillan Band.
After their debut album in ’75 called Child In Time, the band arrived in Wales a year later to remix the follow-up Clear Air Turbulence. Ray Fenwick remembers that meeting the post-Deep Purple Ian Gillan was not quite what he had expected.
‘When I first saw him, he’d cut his long hair quite short, which was a bit of a shock. He looked a lot straighter – a lot less rock’n’roll - than he did with Deep Purple. But by then he’d got into a lot of businesses. He had a studio, a hotel and I think he was also running a travel agency – all kinds of things. If he’d stayed away from music for any longer, I think he’d have become a very successful entrepreneur. I think he’d have been a Richard Branson type.’
So why did the band decide on Rockfield, when Ian had his own studio?
‘The reason’, says Ray Fenwick, ‘is that Rockfield was one of the state of the art studios at the time. It had this superb Neve mixing desk, which was just the best thing around. I mean Kingsway had been a great place to record the album, but Ian wanted a better studio to finish it in. Plus Rockfield was residential, so we could all go down there and stay together. That’s why we chose it really. And, as a bonus, it came with a reputation.’
The Ian Gillan band settled into the Coach House studio and started
remixing Clear Air Turbulence. The album was to be a real departure for the former Deep Purple singer. Moving away from the heavy rock signatures of his former band, the music was a fusion of rock, funk and jazz with wonderfully complex and absorbing time-changes and melodies.
************************************************************************
Musically the Rockfield vibe was helping the band put together what was to become their biggest selling album up to that point. Geddy Lee recalls, ‘It definitely seeped into the record, because we realised we could experiment quite a bit and record some of the acoustic guitars and percussive instruments outside inn the courtyard. But the longer we stayed there, the later the recording sessions got, until our time clock went completely upside down. Eventually we were getting up in the late afternoon, having breakfast at suppertime and going on to record until the wee hours of the morning. But some of the outdoor recording we were doing was great. We were out in the courtyard in the Quandrangle part of the farm and we recorded the opening of the tracks Farewell to Kings and Xanadu as well as a few other bits and pieces out there.’
If you listen to Xanadu, the second track on Farewell To Kings, you can clearly hear birds tweeting. I enquire if those are Welsh birds. ‘Indeed they are!’ replies Geddy brightly. ‘In the early morning, the birds would gather round in the courtyard and start tweeting away. And it all got captured onto that disc. Those birds on Xanadu, those are genuine Rockfield birds!’



ROCK LEGENDS AT ROCKFIELD by Jeff Collins is out on September 15th on University of Wales Press in Europe. University of Chicago Press in The USA. It's available for pre-order now from Amazon and all good bookstores.

ROCK LEGENDS AT ROCKFIELD - out Sept 15th

ROCK LEGENDS AT ROCKFIELD by Jeff Collins out September 15th.

Pre-orders now available from Amazon and all good booksellers including WHSmith, Waterstones, Tesco, Wal-Mart etc etc.



Rockfield is a recording studio that literally lives up to its name. Over the past thirty years, this rural Monmouthshire locale has played host to a bevy of British musical legends—from Robert Plant, Queen, and Black Sabbath to Oasis, the Stone Roses, Simple Minds to present day acts like The Darkness and Kasabian—as its unique acoustics have helped to define the sounds of many of rock’s most classic albums. A rich narrative history packed with previously unheard behind-the-scenes anecdotes, Rock Legends at Rockfield features recent interviews with legendary artists who tell the bizarre tales behind the recording of modern classics like Queen’s “Bohemian Rhapsody” and Oasis’s “Live Forever.” Some accounts are from the musicians themselves, including Lemmy from Motorhead and Robert Plant, while others are told by those a step or two removed—the roadies, producers, photographers, and hangers-on that helped to coax the strange happenings that accompanied the otherwise mundane routine of day-to-day recording. Along the way, author Jeff Collins examines how this dilapidated set of farm buildings and their solid-stone studios rose to become one of the most famous brands in recording history—and a stage for musical excess and excellence.


Printed by University of Wales press in Europe
University of Chicago Press in the USA

Killing Company and The Who - a review from backstage

Killing for Company + The Who - a review from Backstage

(PICTURES BY ANDREW PRITCHARD -The good ones!! and by Jeff Collins - The wonky mobile phone ones!)

Friday June 1st. The big day has arrived for Killing For Company. The big gig! Supporting The Who at the Liberty Stadium in Swansea. I arrive at the ground with my friend and photographer Andrew Pritchard in tow. At the side entrance - where all the band's buses and trucks are parked - we catch sight of Killing For Company bassist Steve Williams. Andrew and I had already covered the band at their warm-up gig at The Point in Cardiff in front of a few hundred people four days earlier. The band had been in awesome form - especially as it was only their fourth gig.



Steve takes us backstage where we're given access-all-areas VIP tour passes. Then its up to the band's hospitality suite. The band are nervously waiting to discover if they'll be getting a soundcheck. (TOP PICTURE IS BACKSTAGE AT WHO GIG)

The Who's stage crew are still testing the band's instruments and have over-run into the rehearsal slots allocated to the support bands. It's a tense time.
4-10pm. To much relief, Killing for Company are finally led up onto the stage. It's huge. A gigantic video screen and monstrous lighting rig hangs above our heads and to the right, off stage, are dozens of guitars ready for use by The Who. I watch from the side of the stage as Stuart Cable sets up his drum kit and puts it through its motions. 9FOURTH PICTURES DOWN IS STUART SETTING UP HIS DRUMS ON STAGE)
(FIFTH PICTURE DOWN IS THE VIEW FROM THE STAGE FROM BEHIND THE WHO'S GEAR)
..
One by one the rest of the band get their turn. Steve Williams cranks up the bass while Andy Williams and Richie King plug in their guitars. Finally vocalist Greg Jones gets a try out. Then the band have an unexpected suprise as they are told they have time to run through one song. They play She Won't Wait, stopping near the end as Stuart is having problems hearing the bass monitor because Steve is so far over the other side of the stage from him. It means he has trouble keeping time. The problem's corrected and Luckily the band get to run through most of the song one more time. This time its perfect!!!
"Everybody happy with that?" asks Stuart. "yes" comes the unanimous reply. "Good we'll go with that". Stuart turns to the sound guys "It's sounds great boys. Cheers" and with that we head backstage -- only an hour from the performance itself!!!
After a very nerous wait - the band and I are led from the hospitality suite on the third floor back down through the bowels of the stadium to the backstage area. Once up the ramp and through to the side of the stage - The Who's stage manager asks the band if they want someone to introduce them. Well the job falls down to me. "Go on Jeff." shouts Stuart while Steve gives me a big smile and the double thumbs up. I walk out in front of all the equipment to the front of the huge stage and stand in front of the middle microphone. The crowd pay attention to the sudden activity on the stage and gaze my way. Having had no time to think of anything to say I simply welcome the crowd to the stadium. "We've a great time ahead ending with the Legendary Who" I say "But now, the first band ever to play at this wonderful stadium. Get ready to rock. It's Killing For Company." To huge applause for the band, I step back as they take to the stage. (SECOND PICTURE DOWN IS ME INTRODUCING KILLING FOR COMPANY AT THE LIBERTY STADIUM)
..

The launch into the superb song She Won't Wait. By the second song Enemies - the crowd is clapping along to the catchy choruses drifting across the arena.
By the third song - my favourite - The Boy Who the audience is hooked. There must be between five to seven thousand people out there absolutely revelling in Killing For Company. The band is so tight. Stuart pounds away ferociously forming a marvellous rock rhythm section with Steve Williams. The two guitarists Andy Williams and Richie King blaze away furiously weaving intricate and heavy riffs at the same time. Singer Greg Jones is a sensation. A bundle of energy, he twirls, spins and rampages across the stage swinging the mic - and at any given chance he's off the stage - down with the photographers and then up onto The Who's two big bass speakers in front of the stage. He's captivating to watch and has the audience eating out of his hand by the last song Say About Me.
..

The half hour set is over and its been a resounding success.
The Who take to the stage two hours later. They open with Can't Explain, The Seeker, and Who Are You among others. The opening numbers are dogged by a series of power failures. Song five Behind Blue Eyes is the first to be played with a power glitch. "A song from beginning to End!! The wonders of modern technology!" says Roger Daltrey sarcastically.
The Who motor through a two hour set which has the crowd dancing and clapping along. They finish with The Kids Are Alright, Pinball Wizard and See Me, Feel Me..
Afterwards Roger Daltrey is clearly upset by the techical problems and tells me he didn't feel the night went well. I try to reassure him by telling him that the crowd loved it and didn't mind the slight hitches, which were humourously dealt with by the band. (THIRD PICTURE DOWN IS ME SPEAKING TO ROGER DALTREY)
Stuart Cable supported the Who back in 1997 with the Stereophonics. He and Roger are friends and The Who's frontman predicts big things for Killing For Company. "They're a tight unit and could go far" he insists after the show. With an endorsement like that - who could argue (forgive the pun!).
..

Jeff Collins

ROCK LEGEND AT ROCKFIELD a book - featuring Black Sabbath, Motorhead, Robert Plant, Rush and many many more - is out on September 15th published by The University of Wales press. It's now available for pre-order on Amazon and all good book stores including WHSmith, Walmart, Tesco, Waterstones etc.