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Consumer Guide / No.142 / Miles McClagan - football archivist - with Mark Watkins.

MW: Why did you decide to start scanning old football magazines & programmes so as to freely share them on social media? How about maintaining your growing archive?

MM: It was a bit of a fluke – I had a plastic bucket of football programmes that sat on my floor for years. I was bored one day and opened it for a look, and there was a Motherwell programme that contained a photo of Willie Pettigrew looking terrifying behind a mascot, and I scanned it for a laugh, and it got an OK response, on a Twitter account I was doing nothing with.

I looked into the bucket after that, and saw a Scotland 1978 medal ad, so I shared that, and just kept going.

I’d rather people saw them and enjoyed them than sitting in a bucket gathering dust.

I work on a pretty big rotation with maintaining them – I buy and sell quite a lot otherwise the house would be a disaster zone.  The ones I have are sorted into piles, magazines and programmes, and I have about six folders of ones I really want to keep (like Hull City vs Japan, Shrewsbury vs Zambia etc)

MW: How do you obtain all your physical "stuff"?

MM: Living in Australia, it’s a bit more of a pain in the arse to get them, so it’s an eBay rotation, buy and sell, to keep the cash going.

I’ve got enough now that I don’t need to buy too many more for a while, but I’m hunting down Shoot! magazines, and that’s easier and cheaper to get on Australian eBay than programmes.

MW: Growing up, what comics & magazines did you get, and any favourite strips or features?

MM: When I lived in Australia, it was always Shoot!, and then latterly World Soccer – I was a World Soccer obsessive pre internet because of the results, the line ups and the knowledge gained from other leagues.

I enjoyed editing football computer games, and World Soccer was invaluable for that.

In my period living or going home to Scotland, I collected just about everything – 90 Minutes, fanzines, Goal!, Total Football etc. If I was going to a St Mirren game I would always grab something from the train station for the journey, so I had an enormous collection by the end.

One of my favourite things in the world was the team line ups, scores and notes in World Soccer. I had a PC as a computer and used to play a lot of football management games and would edit the teams based on those line ups, it was so much fun.

One of the other things I do obsessively is collate and scan the Shoot! player profiles – it’s the most popular thing I do. I love how it’s a great equalizer, no matter how famous or non famous the player, the same questions get asked, and they are frozen in a moment in time, it’s glorious.

MW: What football team do you support? 

MM: As above, I’m a St Mirren fan. My Dad was a St Mirren fan, he still sits up until 2 in the morning watching the scores come in on the internet. We used to go to every home game in the late 80s and early 90s, even when we were genuinely terrible, sitting in the family enclosure getting soaked…

I also have a massive soft spot for 90s Parma, especially the early-to- mid-90s team. When I was on holiday in Scotland, I watched the Cup Winners Cup Final vs Antwerp, and I absolutely fell in love with them. 

I found two editions of “Look At Parma” magazine on the Internet and nothing made me happy – just seeing that kit was a perfect hit of nostalgia.

Also, Taffarel is dressed up as Tarzan cos reasons...

MW: Who is your all-time favourite footballer, why? and likewise, goal scored?

MM: How long have you got! My first favourite player was the St Mirren goalkeeper Campbell Money, when I was nine I jumped the fence and went on the park while he was warming up to get his autograph, and genuinely scared the you know what out of him.

I absolutely love Paul Breitner, he could be my all time favourite.

As with my early 90s Parma affection, Alessandro Melli is high up there, and pre discovering food Brolin, Asprilla, Zola etc.

I had a phase of being convinced Patrik Berger was the best footballer in the world as well, and having lived through the Women's World Cup in Australia, I would genuinely pay to watch Linda Caicedo do her thing for Colombia.

That’s a short list, there’s a lot more, but that’s just some of them.

Favourite goal? Cuoghi vs Antwerp (the sealer), Ferguson vs Dundee United (87 Cup Final) and any of the 4 when we beat Celtic 4-0 (I waz there!)

MW: Who do you fancy lifting the World Cup in 2026? 2030?

MM: Genuinely, I don’t watch enough modern international football to say, and those 48 team World Cups seem like an absolute nightmare. That said, Spain? Yamal seems like someone who could light up a tournament then...2030...Australia – why the hell not?!

MW: Away from football, what do you enjoy doing?

MM: Travelling, I basically work to travel, go to the Melbourne Cricket Ground to watch Collingwood football games then go overseas when I can. Old enough to be very dull, which is a nice thing!

I also watch a lot of sports & wrestling (I love the NBA, watch the NFL, and am a big Australian rules football fan)

MW: Describe your most favourite big breakfast, light lunch and evening meal…

MM: 

Breakfast: if I could have anything, it’d be toasted sandwich included – pancakes, waffles, and tea also (the most common time I have a big breakfast is usually hotel buffet!)

Lunch: sausage rolls or a bacon butty.

Evening: given the number of Shoot! profiles I scan, I better say steak...

MW: Do you subscribe to anything on-line (newsletters, websites, movies etc) and what's your favourite App/s...

I have quite a few subscriptions and chip in to Kickstarter and Patreon. I mostly use Whats App, Twitter and YouTube to keep up with things.

MW: Where will you holiday this year? Is this a regular trip?

MM: The plan is to go home to Scotland over Christmas – I used to go to New York once a year to go to Times Square and NBA games, but I’m not sure I can make it this year, so it’s most likely go home, see the relatives, and go to a St Mirren hospitality day (always a classic).

MW: Where can we keep in touch...

MM:

I’m on Twitter/X

Miles McClagan (@TheSkyStrikers) / X

My scans are at https://www.flickr.com/photos/114058793@N05/albums/

(4700+ full scans, including 240 editions of Shoot!)

I’m on Bluesky at

Miles McClagan (@theskystrikers.bsky.social) — Bluesky

and I’m starting an ALT Flickr with Australian magazines etc at https://www.flickr.com/photos/201730070@N03/albums/

© Mark Watkins / June 2025

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Consumer Guide / No.141 / Geoffrey Wansell - journalist & author - with Mark Watkins.

MW: What were those early days / years like on LBC? 

GW: Helping to start LBC, the first all-news and talk commercial radio station in the UK in October 1973 was, to put it mildly, terrifying. No one knew how it would work, or even whether it would.

I went there as Programmes Editor, which meant creating the other programmes around the news and finding the presenters for them. I think we helped to launch some fine careers, including Jon Snow and Peter Allen, but in those first days it was chaotic – not least because the Yom Kippur war had just begun and the advertising dried up completely. That also meant we were forced to lose journalists that I had hoped to keep after just 18 months on air.

I stayed until March 1975 but never returned to radio again, which I am rather sad about, looking back, though I do little bits for Jeremy Vine on BBC Radio 2.

MW: Any particular memories of LBC’s Dominic Allen? 

GW: I don’t have any specific memory of Dominic, who hosted Sports Watch, which was one of a number of programmes I was especially proud of.

Sports Watch on Saturday afternoon pioneered reporting from every Division One league game live (it was long before the Premier League). That’s now commonplace, and done brilliantly by BBC Radio 5 Live, but it wasn’t the case then – after all it was 50 years ago.

Janet Street-Porter started broadcasting with us, and so did a number of others, who all got their start with LBC.

I was also very proud of the arts programme we did every week day evening – Sounds New.

MW: How are you working under the constant pressure of deadlines?

GW: You don’t go into journalism, especially news reporting, if you can’t take pressure. It is part of the thrill of it. You get to witness history as it is happening, and you have a duty to tell the story as you see it. In those days that meant that you had to be adept at making sure that you had access to a landline telephone. It was long before mobiles. It also meant that you had to be capable of dictating a story straight into the phone without much time to make notes. If you can manage that then you had a chance of survival. If not then perhaps you should choose another profession!

I started as a Home News Reporter on The Times in June 1970 and managed to get shot at and blown up at the start of internment in Ulster in August the following year, and I also covered the Staines air crash in June 1972, which killed all 118 passengers. Those memories never leave you. 

MW: You’ve written for several top newspapers…

GW: I became the first full-time Feature Writer at The Times early in 1973 and I am very proud of the work that I did.

The most controversial piece I wrote was a comparison between the treatment of German and Japanese prisoners of war – spurred on by the television series of Colditz and Tenko. The memories of the survivors were still very raw – it was less than 30 years since the end of World War Two. I made a comparison between the cultures of Germany and Japan and their attitudes to survival in wartime, and it enraged some readers, not unreasonably, but I remain proud of the argument presented in the piece. I also charted the arrival of the alternative ‘underground’ press.

I joined The Observer in 1977, and quickly became its diarist Pendennis. So there isn’t a single feature that stands out for me. Having to fill a column every week was a daunting task, but I was lucky enough to have some excellent colleagues who helped no end. Indeed it was that column that took me to Now! magazine in the summer of 1979, where I wrote another diary for the 19 months that the magazine lasted. 

After Now! magazine sank beneath the waves. I joined The Sunday Telegraph, partly to write a weekly column about people, but also to write big features, which was enormous fun. It was a terrific place to work, with a mercurial editor, the late John Anstey, who was a remarkable man. A group of writers – five of us as I recall – once went to the Portuguese F1 grand prix – my first and only time at a motor race, but it was an extraordinary experience. I also worked for You Magazine at The Mail on Sunday around this time and remember writing about Tom Courtenay and Lee Trevino, both fascinating men in quite different ways. 

In the 1990s, I started writing double-page features for The Daily Mail, beginning with a three part series on the late Sean Connery, who was not the easiest of men, but I think it was the most accurate portrait of him that ever appeared. I also became the paper’s expert on the emerging talent and celebrity of David Beckham and how he established himself as a global figure. I traced his rise from Manchester United to Real Madrid and I think I coined the phrases Planet Beckham and Brand Beckham, which still seem to be in use today. I also campaigned for the release of the solicitor Sally Clark, who was convicted of murdering two of her infant sons, which succeeded. It was a great privilege to work for the paper, which I still hold in the highest possible regard. 

MW: How did you come to write the book Tycoon on Sir James Goldsmith? Have you been tuning in to History Podcast, Invisible Hands, on BBC Radio 4 (where he’s discussed in relation to the Free Market)? 

GW: Sir James Goldsmith founded and funded Now! magazine, and when he decided to close it suddenly in the spring of 1981 I became fascinated by him. We had met a few times, but I wanted to know much more, so I decided to write a book about him.

It wasn’t my first book - that was a biography of the British born movie star Cary Grant. My first Goldsmith book came out in 1982 and not long afterwards my then agent suggested that I write another, bigger book which became Tycoon in 1987.

He was an extraordinary, controversial character and I hope the books convey some of his complexities. It was my books on Goldsmith that recently led the production team of BBC Radio 4’s Invisible Hands to talk to me, because he was, in many ways, ahead of his time in seeing the dangers of a European Super State. 

MW: What do you enjoy hearing and viewing? 

GW: These days I spend my time listening to BBC Radio R4 and BBC Radio 5 Live in the mornings for news. Then I watch Sky News and BBC News at One at lunch time, and back to Sky for 6pm and 10pm.

I always stay up to see the review of the next morning’s papers before going to bed. I am now, and always have been, something of a news junkie. If you start as a reporter the appetite for information about what’s happening never, ever, leaves you.

The rest of the time I watch a lot of True Crime documentaries as they have occupied me for most of the past 10 years. I have made nine series and 180 episodes of World’s Most Evil Killers and Britain’s Most Evil Killers for Sky as well as 28 episodes of Murder by the Sea for CBS Reality, as well as eight documentaries about British prisons for Channel 5. Somehow or other I have become an expert talking head on murderers.

MW: You seem to have a fondness for wearing bow-ties, why’s that?

GW: I started wearing a bow-tie almost 50 years ago at The Observer and I have done so ever since. I’m not quite sure why. I think perhaps it was because I never want to be boring, and my tie, like my red glasses, sets me apart. Now I can’t really appear anywhere, especially not on television, without one. The producers insist on it. Another reason was that I greatly admired the historian and journalist A. J. P. Taylor and the journalist Nicholas Tomalin, both of whom also wore bow-ties. 

MW: Why do you think it is that “we” can be fascinated with murder stories that you’ve written, trying to understand the minds of such killers - the why do they do it?

GW: It was an accident that took me into the world of murder. My agent rang me to explain that an author was wanted to write the ‘official’ biography of the Gloucester serial killer Frederick West and was I interested? I said I’d never done that sort of thing, but I agreed to write a synopsis, which I did. It was terrible. But somehow or other I was offered the job and accepted, which meant I was given access to all West’s papers and interviews with the police and his solicitors. So I found myself at Rosemary West’s trial in October 1995, writing about her husband. It was an experience that changed my life.

To this day I am still asked about West – and now about many other people – because the public are fascinated by the question: the why do they do it? I don’t quite understand it myself, but the interest in True Crime is overwhelming, as the number of programmes about murder demonstrates.

MW: What’s your favourite character at Cluedo? Murder weapon? Room? Do you usually win?!

GW: My favourite character was always Miss Scarlett – with the lead pipe in the Billiard Room. I haven’t played the game for years, but I loved it. I didn’t always win, but there are ways you can improve your chances. 

MW: Did you ever meet Mrs Thatcher? If so, what did you think of her? As a politician? Also, is History (now) judging her more or less kindly do you think?

GW: I first met Mrs Thatcher when she was shadow Education Secretary in 1972. I was standing in for The Times Education Correspondent and was invited to a lunch she attended with the Editor. She was very formidable and gave me, the youngest person in the room by far, very short shrift when I questioned her judgement. But you could not fail to be impressed with her.

When I was at The Observer I became friends with one or two of her closest advisers, whom I much admired - as did she. But my favourite story about her is one I wrote for the paper’s diary – about her being bitten by a flea at the Tory Conference in Blackpool in 1978. She caused a considerable stir, but that was her style.

I think she is now regarded – by some, not all – as a very significant political figure in the 20th century, and that seems to me to be exactly right. 

MW: What projects are you currently working on? 

GW: I still review crime and thrillers for The Daily Mail, which I have done for the past 15 years or so, and I am preparing to re-launch a true crime podcast with my daughter Molly, called Blood Ties. We did it for five years, then stopped as she was so busy, but now, two years later, we are about to start again. Then there are some more Evil Killers to do this year, so murder never seems to leave me alone, which is quite comforting - if a little scary.  

Geoffrey Wansell - Journalist and Author

Thanks to photographer Rory Langdon-Down for permission to use his portrait picture of Geoffrey (Wansell) as per top of this page.

© Mark Watkins / May 2025

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Consumer Guide / No.140 / Lara from Never The Bridle with Mark Watkins.

MW: Whereabouts in the South West can we find you Lara and what especially do you like about the area?

L: You’ll find me in Somerset, practising the guitar, surrounded by laundry. We get the best of Bath and Bristol here, plus plenty of green space, nice pubs, good coffee and some fun day festivals (Bristol Sounds, Forwards). I had a nasty illness years ago, which caused some long-term autoimmune problems. Moving here from London and choosing a slower pace of life helped enormously.

MW: How did you start out making music?

L: My mum bought us a keyboard when I was five and I stayed in piano lessons up to age 18. I enjoyed playing by myself, but I found the discipline of classical music, and any performance or assessment, very stressful.

I didn’t have a guitar teacher, but mum knew a few chords, so I messed around happily with those for years. It was nice to do something intuitively, and not worry about technique, scales or passing exams.

My dad used to get me to sing the melodies so he could do all the cool harmonies. Maybe I record so many harmonies in my songs now because he’s not hogging them!

MW: It’s an unusual name, Never The Bridle, which is a reference to the scold's bridle, an archaic instrument of punishment primarily used on women. Why did you select this name in particular, and how do you feel women are faring generally in today’s world?

L: The short answer is that all the other names on my list had already been taken! But Never The Bridle still has meaning for me.

At primary school, we learned about the scold's bridle, the ducking stool and witch burning. Illustrated images of the stool poised over the river ready to submerge, and the bridle fitted over the face to make it painful to speak, stayed with me for a long time. Years later, I was watching the TV adaptation of The Handmaid’s Tale and there were female characters with their tongues cut out, or mouths bound shut. My track ‘Duck The Scold’ is inspired by this. So I’d say my artist name is about saying no to being silenced and it’s also a comment on the restrictive nature of marriage for some women.

As for how women are getting on in general, that really depends on where they are. I’m grateful for my progressive environment, and I don’t take it for granted, especially when we witness rights being rolled away in some places. We all have to speak up for each other.

MW: You record at home, so during lockdowns, did that mean you had already adapted to not going out, as it were?

L: I only started recording music in 2023, when we were coming out of the worst of the Covid years. I’d got a bit interested in my guitar again as something to help me relax. I decided to learn some barre chords, bought a cheap electric guitar and an amp, and started playing along to songs by The Muffs, Juliana Hatfield and Starcrawler.

I suddenly had a lot of song ideas myself, so I saved up for a beginner’s recording pack with a microphone, Focusrite and Ableton software. My family clubbed together to get me a short-scale bass for my birthday so I could make the tracks a bit fuller. Eventually a friend persuaded me to put some of them on Bandcamp.

I’m shy and I like to work alone, so it suits me to record at home for now. I can lose myself for hours and it’s therapeutic; hitting the strings gets the tension out, and singing forces you to breathe properly.

MW: How did / does that practically work collaborating with drummer & mixer, Martyn James? How would you like to collaborate with other artists?

L: Previously, my "drums" were cut-and-paste clips. A friend sent me Martyn’s details (https://bathdrummer.co.uk/) as he offers a remote recording service. He added drums to a couple of tracks, then took an interest in the songs and offered to produce them. We’ve done two albums together now and there’s more on the way.

So far, I’ve done some singing for other people, usually remotely, but I would travel for an interesting project if one came up. I’d say I’m stronger on the writing side, so ideally I’d like to write songs for other artists, or get some music onto a film or TV show.

MW: What is your latest release and in what ways are “high anxiety and humour” included?

L: I released the newly remixed songs in February 2025 as the album ‘Eldest Daughter Energy’. The style is so fast and anxious-sounding, which reflects me as a person. I’m also singing about things that have been a source of unhappiness, fear or anger, but I use a lot of major chords to express that. In ‘Say It Now’, putting a bouncy, melodic chorus and some playfulness into a song that’s loosely about seizing the day, but really about death, is my way of adding humour. I’m repeatedly singing the line, “It’s too late when you’re gone”, but it’s such a cheerful-sounding song. I like that.

MW: What book are you reading at the moment?

L: I’m in the early stages of, The Wren, The Wren, by Anne Enright and it is glorious. It started out sharp and funny, and now the content’s taking a different turn. I’m interested to find out what happens next. This line stuck with me: "That is what happens to mothers, they lose their sense of adventure." That definitely happened to me for a time.

MW: What was the last good film you saw?

L: The Substance, but my recommendation comes with a massive neon content warning, as it is bafflingly graphic. Visually, it has so many references to films I love, like The Shining, Possession, Requiem For A Dream and Carrie, as well as some 80s-style body horror, and it also plays on, The Picture Of Dorian Gray. It’s impressively grotesque in places, and makes some interesting points about women, beauty and aging under the male gaze.

MW: Which song do you turn up loud on hearing it played on the radio? Why's that?

L: ‘Ride On Time’ by Black Box. It’s an absolute tune and the only song that can get me out of bed in under 5 seconds. I just put it on now and the reaction is as strong as ever. I’m not a good dancer, but there’s no stopping me if this comes on.

MW: Thumbing through your record collection what would we find on "old school" vinyl & tape and on CD?

L: On vinyl, you’ll find the box set of collected works by Neutral Milk Hotel, plenty of Lemonheads, Beach Boys, Beatles.

On CD, you’ll find the Primitives, The Muffs, Elliott Smith, Piney Gir, Pavement, The Gogos, The Breeders.

On cassette, there’s Belly, The Rentals, Weezer – I think I still have Kylie’s first album too, the first cassette I ever bought with my pocket money.

By the way, on my wish list, I have releases by acts like DuBlonde, Rachel Chinouriri, Aldous Harding and Momma.

MW: Is there any merit in life being an “ambler gambler”, so going ahead without waiting for the traffic lights to go green? Give an example of when rushing ahead without thinking has worked out well for you…

L: If I hadn’t put a batch of badly mixed demos online, I wouldn’t have got the feedback I needed to kick off conversations to improve them. Because of that first step, I’ve been lucky enough to get some radio plays, reviews and playlist placements. In particular, I’d like to thank Neil March at Exile FM and the Fresh On The Net blog team for their support, and for introducing me to tons of new music.

MW: What do your parents think about how you’ve turned out? Are you like or not like them? In what ways?

L: I’m very lucky to still have both of my parents. I’m actually not sure what they think of how I’ve turned out! They’re certainly surprised at the sudden musical output and they’ve been supportive about the songs. I have my mum’s eldest daughter determination and organisational skills. I have my Dad’s quieter tastes and sense of humour.

MW: What are your plans for Easter and do you usually exchange Easter eggs / cards?

L: Give me a bag of crisps over chocolate, any day. But I spend 20 minutes early on Easter Sunday hiding eggs in bushes and plants for younger family members to find. We like the ethos of Tony’s Chocolonely, so we usually buy gifts from them.

Tony's Chocolonely Global – Tony’s Chocolonely Global

© Mark Watkins / April 2025

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Consumer Guide / No.139 / Musician Tony Butler (Big Country +) with Mark Watkins.

MW: How and when did you learn to play the bass guitar, and did you try any other types of guitar before settling on bass? 

TB: I started by using a broomstick, posing in front of a mirror pretending I was Jimi Hendrix. I then went onto learning bass lines of my favourite records (around 9 years old), still posing in front of a mirror, pretending I was in the groups. I changed to bass when I realised that the guitar too was difficult for my small hands, and I’d never be as good as Jimi.

MW: What was it like being on Top Of The Pops with Big Country? 

TB: I really enjoyed the early Top Of The Pops appearances as it was a dream to appear on it; but playing live on TV was also a great buzz as it had to be good, solid and powerful in order for the performance to translate onto the TV.  

MW: How did the death of Stuart Adamson in 2001 impact? 

TB: I miss Stuart as a friend. His talent as a guitarist and songwriter was what attracted me to him in the first place. The group I was in at the time of meeting him was called, The Simon Townshend Band, and we toured with The Skids in the late 1970’s. I was amazed by the passion, sound and power that they produced. I thought Stuart's guitar playing was incredibly innovative and original. I am still sad about his passing; I still feel that Big Country had a lot more to achieve as a forward thinking musical entity, and was not truly recognised as one of Britain's best  bands from that period. 

MW: …and memories?

TB: I have a great many memories of Stuart (we were friends and colleagues for over 20 years), but not for publication as they are very personal to me. In terms of legacy, I really hope he is remembered for the incredible poetry in his lyrics, his tune smithery and melodic sensibilities. We also shared a love of football. His passing had an incredibly sad impact on the band, colleagues and all involved with the band. I personally have him in mind with everything I do musically, particularly on this new album.

MW: What’s it like to meet and work with Chrissie Hynde?

TB: Chrissie was fab. I was a bit of a fan. I used to work for WEA Records in their distribution sales office, selling records to record shops. One week, ‘Brass In Pocket’, was presented to us in a sales meeting and I loved it. So much. I exceeded my targets and got a bonus for my industry getting the record into record shops in bulk.

Later, I got the opportunity to work with The Pretenders after being recommended to the band by their producer Chris Thomas (whom I’d worked with on Pete Townshend’s Empty Glass solo album). I spent a few days rehearsing with them (Billy Bremner on guitar, Martin Chambers on drums) and worked on, ‘Back On The Chain Gang’. On the last day of rehearsals, myself and Martin were just jamming a lick I created while we were waiting for Chrissie to arrive. She came in, heard what we were doing and joined in; thus creating the basis of what she constructed as, ‘My City Was Gone’, the eventual B-side.

I was in awe of Chrissie, and still am to this day. I love her writing, voice and attitude.

MW: Why didn't you take up the offer to join The Pretenders?

TB: I don’t remember to be honest that I actually was offered. I was in the throes of getting going with Big Country, and I always thought that BC was where my future lay.

MW: So onto your new solo album, No Profit In A Peaceful World...

TB: This album is a personal reflection on how I see life NOT advancing in a peaceful way throughout my life. I took notice of John Lennon's plea to give peace a chance. I felt very deeply about the Big Country album, Peace In Our Time, and thought that with Glasnost, global tensions would subside with the end of the Soviet Union. But no! 

No Profit In A Peaceful World represents capitalism on steroids, greed, authoritarianism/fascism and the total disrespect of human life for those who want to prosper unnecessarily, regardless of the consequences. Other tracks are more personal to me as it is a solo album. Apart from two guitar solos, I play everything. 

The single, 'Give Them Back Their Freedom', is released on Monday 14th April on all streaming platforms.

The album, No Profit In A Peaceful World, is released on Monday 28th April on all streaming platforms, with CD & Double Vinyl also available.

MW: Give a flavour of your record collection...

TB: My record collection has been in boxes in my attic for many years now. I don’t listen to a lot of music as I like to try and keep my own ideas free of influence. I have my past favourites that have inspired me as a bass player, writer and musician; namely The Who, Jimi Hendrix, Yes, Genesis (Chris Squire and Mike Rutherford being bass heroes), Talk Talk, Bob Marley, early Deep Purple to name a few.

MW: Football. You support Tottenham Hotspur. Would you stick or twist with Ange? 

TB: Yes, been a Spurs supporter since 1967. I’ve seen them go from incredible to incredibly crap. “'Mid-table mediocrity” is usually the name of the game. This season is no different. I’m old fashioned enough to let a manager have a few seasons to embed their footballing philosophies, but Ange (Postecoglou) is trying my patience. (ha ha!)  

MW: You live in Cornwall. What do you like about the county, especially Launceston where you live?

TB: I have lived in Cornwall since 1987. I love it here, especially after having travelled so much. I have recognised (and reflected on the track, ‘I Call it Home’ on the latest album) my feelings about living here. In fact, I live just outside of Launceston now, where I can see green fields, open skies and the lovely smell of silage (ha ha!).  

MW: Looking back, what message would you send to your teenage self?

TB: That I’ve lived my life, would be the message. Be honest with yourself and your feelings. Be good to others. There is room for all if we give ourselves the space to exist.

Tony's website: Tony Butler

(c) Mark Watkins / March 2025

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Consumer Guide / No.138 / Ivor Novello Award-winning writer, drummer & producer, Cassell The BeatMaker with Mark Watkins.

MW: What were you like as a teenager, and what were your main interests growing up?

CTB: As a teenager, I was completely consumed by music and driven to become the best drummer I could be. My music genre explored a wide range of styles, from hip-hop, r&b, reggae, dance, calypso, rock, jazz, classical, latin, and fusion. You name it, I listened to it. Outside of music, I also appeared in a few TV commercials but my true love always came back to music. The majority of my time was spent either practising the drums, rehearsing, or jamming with friends. This led to performing live shows and ultimately sparked my interest in music production and songwriting.

MW: In what ways did The Prince's Trust help you?

CTB: The Prince's Trust provided me with a part loan / grant to set up my first small production / recording studio. They helped guide and support me at a crucial point in my career. They helped develop the skills I needed to turn my passion for music into a sustainable career. They gave me the opportunity to connect with mentors and most importantly, believe in myself when things got tough. This kind of support made a real difference in helping me progress in my early stages of my career in music.

The King's Trust | Confidence, courses, careers (formerly The Prince's Trust)

MW: Why are you called ‘BeatMaker’?

CTB: The name ‘BeatMaker’ reflects my core passion and role in music production. I’ve always been someone who focuses heavily on creating beats and shaping the foundational rhythms of a track. For me, it’s about bringing those beats to life and making sure they speak to the energy and vibe of the song. It's not just about the technical side but about creating something that resonates with people. I wanted my name to reflect the central role that rhythm plays in my music.

MW: What specific skills and experience have you been able to bring to (your) music production?

CTB: My skills as a drummer have been crucial in shaping my music production. I have an innate understanding of rhythm, which I apply to creating grooves that drive the energy of a track. Over the years, my ability to work with other musicians and songwriters is an important asset to producing a diverse range of music. My experience as a songwriter also informs how I approach production, allowing me to make sure the musical arrangement complements the lyrics and overall vibe of a song. I’m constantly learning, but these skills have been a huge asset in my production work.

MW: Likewise, your mentoring?

CTB: Mentoring is something I take very seriously because I believe in sharing my knowledge as a musician especially if it helps someone jump some of the hurdles I faced. I’ve been fortunate to experience a successful career over the years, and now I make it a point to help up-and-coming talent with their own journeys. I am all for encouraging mentees to find their own voice and stay true to their artistry. It’s not just about teaching technical skills but also about helping others understand the industry and how to stay focused on long-term goals.

MW: How exactly do In The Making deliver holistic / professional support to people? Success stories?

CTB: In The Making is all about providing well-rounded, professional support to emerging artists and giving them a safe space to be creative. We offer mentorship, creative guidance, access to industry knowledge, and studio space to develop their music and vision as evolving artists. We help them get a greater understanding of the music industry.

Our success stories include singers who came to us with raw talent but no direction. Through consistent support, they were able to develop their skills and build their portfolio. They have gone on to perform as support acts for major artists, as well as putting their own mini-tour together, whilst staying consistent in releasing new music. It’s all about giving support in as many aspects of an artist’s career. Nurturing them from the creativity stage to the practical steps of building and developing a sustainable career.

MW: You’ve performed at Camden's famous live music venue - Dingwalls, so what was that like?

CTB: One of my early performances was at Dingwalls with one of the first bands I was in, called Quite Sane. It marked a significant turning point in the early stages of my career. However, my most memorable gig was when I performed at Glastonbury Festival on the main stage with Plan B. Immediately after, I headed to the John Peel Tent to perform with Mike Skinner & The Streets. Both performances were incredibly high-energy, and the crowd was electrifying. It was one unforgettable moment when everything clicked. It confirmed that all the hard work and countless hours of practice had paid off, placing me exactly where I had always dreamed of being.

MW: Next, the UK No.1 album, The Defamation Of Strickland Banks by Plan B… tell me about your involvement…

CTB: Being involved in The Defamation Of Strickland Banks was a huge highlight for me. I worked on the album, lending my skills to the songs. The album was a creative turning point, blending genres of hip- hop and Motown with brilliant storytelling from Ben Drew (Plan B) that resonated with a wide audience. Working with Ben was great because he has such a unique vision and approach to music. It was a project that allowed me to push my own boundaries as a musician and contribute to something that became both critically acclaimed and commercially successful.

MW: How do you feel about your awards? Are they on display at home? In fact, do you keep memorabilia of your music career?

CTB: I’m incredibly proud of my achievements, particularly receiving the Ivor Novello Award. At the time, I didn’t fully realise how impactful it would be for my career, but it has truly been life-changing. It stands as a recognition of years of hard work and dedication, and it means the world to me. 

One of my most proudest memories is receiving my first record plaque for album sales of The Defamation of Stricken Banks. I gave it to my mum, as it was her continued support and encouragement that helped me reach these special achievements.

I also have a picture frame filled with show and festival stage passes, which my son thoughtfully put together and gifted me for my birthday. Along with my other plaques and awards, these special mementos proudly hang on the wall or have a space in my studio, serving as constant reminders of my journey and the people who have supported me along the way.

Another one of my proudest moments was when I got to work with the late, legendary, Jeff Beck. I co-wrote, co-produced and played drums on 2 tracks that he released on an EP in Japan entitled Yosōgai.

MW: Name your Top 5 favourite “rappers”, past and / or present, and give the reasons why you rate each one so highly…

CTB:

Nas – The storytelling on Illmatic is just unparalleled. His ability to paint vivid pictures and speak on societal issues is incredible.

Kendrick Lamar – He’s a modern-day poet. To Pimp a Butterfly is a masterpiece, and his lyricism is top-notch.

Redman – His career trajectory and ability to innovate with every album is something I really respect. Malpractice still resonates and is one of my favourites.

Mike Skinner – Is a poet / rapper. Pirate Material is iconic, and his flow is unmatched and unique.

Akala – His complex, clever wordplay and intelligent subject matter are admirable. 10 Years Of Akala is a classic.

MW: What newspapers / magazines, if any, do you usually read and what columnists, features, and content are the "go to" parts of your reads? (Why?)

CTB: I was obsessed with reading Drummer Magazine and Rhythm Magazine. They kept me up-to-date on the latest gear and trends but also provided great interviews and techniques from some of the world’s most renowned drummers. They gave me inspiration and motivation that fuelled my passion for drumming and helped me grow as a musician.

I dreamed of one day being featured in them and that dream became a reality. I had the honour of gracing the front cover of Drummer Magazine and was later featured in an incredible interview in Rhythm Magazine. This was followed by a six-page spread, which I shared with my son when he played Freddy the drummer in the School of Rock, headed by Andrew Lloyd Webber.

MW: Why is branding so important?

CTB: Having a brand is crucial in today’s music industry. It’s not just about the music anymore; it’s about creating a persona and building a connection with your audience. Your brand tells people who you are and what you stand for, and it allows you to stand out in a crowded market. Whether it’s through your music, your visuals, or your social media presence, your brand becomes an extension of you as an artist.

MW: Now clothing. What's your favourite "kit"? So formal and informal dress style (brands, colours)...

CTB: I’m all about comfort. I am drawn to a good hoodie or a t-shirt, paired with some cool trainers or shoes, think brands like ITM, Billionaire Boys Club, or even vintage finds. When I’m dressing up for a formal event, I like suits with a modern twist. A lot of my suits come from brands like Reiss, Moss London, Armani or Ted Baker. I love clean lines and a strong colour palette—black, navy, white and even deep greens are colours I gravitate toward.

MW: As you’ve grown, aged, experienced life, what particular aspect/s of your teenage self remain? Regrets?

CTB: The drive I had as a teenager, my obsession with music and my need to create is still very much alive in me. But I think I’ve gained a lot more perspective and calm as I’ve grown. I was very impulsive when I was younger, but now I take a bit more time to think through decisions and be more strategic. I don’t regret the impulsive nature of my younger self, though. It taught me to take risks, and without that, I wouldn’t be where I am now.

MW: What new projects are you working on? Plans for the rest of 2025?

CTB: I’m all about meeting new talent to create and mix different music genres: Cassellbeats (@cassellbeatsofficial) • Instagram photos and videos

Supporting my kids with their music careers is high on the list: HALLE CASZ (@hallecasz) • Instagram photos and & KAI-RICHIE (@1kairichie) • Instagram photos and videos and Cassellbeats (@cassellbeatsofficial) • Instagram photos and videos

Trying to make more time to practise the drums, and continuing to tour with The Streets.

In addition, I make an effort to learn and explore the many features of Studio One, the DAW (Digital Audio Workstation) I use for production, alongside other software tools that I use.

Another big passion is developing In The Making (ITM), a CIC (Community Industry Company) I founded that runs artist development programs. As ITM is funding dependent, we constantly seek new partners, sponsors, and organisations that share our vision to support underrepresented groups and creators who face significant barriers to entering the music industry.

Instagram: @cassellthebeatmaker

Twitter: @thebeatmaker 

Tik Tok: Cassellthebeatmaker (@cassellthebeatmaker) | TikTok

In The Making Link Tree : https://linktr.ee/inthemakingpresents?utm_source=linktree_profile_share<sid=f3aebb15-2c54-4fbc-bddc-f76f4d029eb5

Photo credits: thanks to Richard Woodburn for use of various photos of Cassell in respect of this Q & A feature.

(c) Mark Watkins / March 2025

[markwatkinsconsumerguide]

Consumer Guide / No.137 / singer/songwriter, broadcaster, composer & producer, Brick Briscoe with Mark Watkins.

MW: How's it all going with your new album, Paris, Indiana and will you be following it up fairly soon? 

BB: I'm having a great time with the response to Paris, Indiana. I'm planning some stripped down shows in the US to continue with that momentum. The release show in Paris was some of the most fun I've ever had playing live, and playing live is my most favorite thing. I'm making a film about what led to the making of that record. I hope that is done by summer. 

Paris, Indiana | Brick Briscoe

I have three records coming out this year. One is an instrumental band I put together with guys I worked with over 25 years ago. We call ourselves Lucky Points. The E.P will be out in mid-March, hopefully. I have a live record from Belfast in respect of my tour of Europe with Brick Briscoe & The Skinny coming out in summer. And finally, I'm working with French Producer Pam Hute on a new Brick Briscoe record that will be an autumn thing. I'm crazy excited about how that's going. Very moody and emotional stuff. Maybe my Scott Walker moment haha. 

Plus, I'm working on my tv series Any Road and celebrating the 10th season of my radio show, "The Song Show". 

And, I'm working on another film that should be done by January (2025). I'm kind of mum about it as I'm not sure what is going to happen. 

MW: You describe yourself on FaceBook as a "ramshackle poet" - why is this?

BB: A festival promoter from Boston (Ryan Spalding) came up with that before I played one of his things in Nashville. He also called me a "whiskey voiced Michael Stipe". Both are probably appropriate. I have a tendency to dive in really hard and let other things go.

MW: Are you easy or hard to pin down -  as a person? as a songwriter/composer? as a film/TV maker? 

BB: As a person, I'm very easy to get to know. I love talking to people and finding out what makes them tick. I'm definitely my father's son; he was the friendliest, easiest going man ever. I do my best to try to live by that example. 

As a songwriter/composer I'd say I'm hard to pin down. I bounce around genres a lot. I've got a wandering mind and I'm constantly trying to reel it in close enough to make something I can communicate. So I might be hard to pigeon hole. 

As a film/tv maker I'm easier to explain, I guess. I love making documentaries where I can dig into what makes folks happen. I love shooting and editing. I have to walk away from being a filmmaker sometimes because of the “all or nothing” aspect of it can interfere with a livable life. 

MW: Top 5! List your favourite films of all-time in order of merit - saying something about your No.1 choice…

BB: 

5. Wing Of Desire (1987) - co-written & directed by Wim Wenders

4. A Woman Under The Influence (1974) - written & directed by John Cassavetes

3. Secrets And Lies (1996)  - written & directed by Mike Leigh

2. Man With A Movie Camera (1929) - written & directed by Dziga Vertov

1. The 400 Blows (1959)  - written & directed by Francois Truffaut

I saw this film in film school at Southern Illinois University, possibly in 1983. That, combined with Man With A Movie Camera, showed me that film can be realism and emotionally poetic at the same time. Truffaut's tough sweetness has always touched me. As a kid from small town Indiana, I had no idea the cinema could be limitless artistically, theoretically, visually, and realistically at the same time. Both films sent me to explore the great American filmmakers like John Ford, George Cukor, Charlie Chaplin, etc, to find where these ideas came from. This also led me to a deep dive into classic world cinema. 

MW: What’s the best book you've read simply by picking it up on a whim at an airport?

BB: Hollywood by Charles Bukowski. I read that book on a flight from JFK to LAX in 1989, after I had lived in L.A, and before I left... and it told my story so well (albeit on a different level).  Those characters were all characters I knew in different forms.  I was so glad to have had the experience, but knew at that point that I was only going to make films outside the system.   Ironically enough, I have a script making the rounds that I wrote the first week I arrived in Los Angeles in 1987.  

MW: When on tour, what essentials do you usually pack (aside from instruments)?

BB: I take a lot of legal drugs. As a guy who has two forms of cancer (in remission) I am a medicine chest. Those pills make it possible. I always take my laptop too. I have plenty of family photos on my phone just in case I get homesick 

MW: How do you prepare before going on stage? How do you decompress afterwards?

BB: I'm never nervous anymore, but I do kind of get into character. I used to make films for a guru-type-woman who taught me how to meditate very quickly... so I always do a two minute energy thing. I'm probably not friendly beforehand due to making sure I get that in. 

I hate the post show energy until we make sure everything of ours is off stage. It's the worst thing about shows. You get all wound up and cathartic and want to talk to anyone who was there... but you've got to break down... I've left so much stuff on stages and not noticed until the next show. But after that's all done, I have a whiskey or tequila and chill out talking to the crowd and any other bands. Again, I love to meet people, even if we didn't win them over. I thrive on that energy until the next show. 

MW: What makes you turn off the radio?  

BB: As a guy who makes programs on NPR, I seldom hear things on the radio that would make me do that. But when I do tune in to commercial radio... hmm. Kid Rock, Ted Nugent, hair metal, modern country... I tend to switch off. 

MW: What records are you listening to at the moment (old or new)?

BB: I love Hania Rani, Svendborg Kardyb, Massive Attack, The WAEVE, LiAnne La Havas, Charlelie Couture, Tindersticks... I like Fontaines DC a lot too. I listen to their LPs front to back. Haven't heard the new one yet. I met JB Dunckel from Air once for my tv show... from then on I've been a huge fan. So I recommend listening to Hania Rani - Ghosts. I love it.

Otherwise, I'm listening to Teardrop Explodes and The Style Council a lot too.

MW: What situation have you "run away" from in your life? Describe - and do/did you regret it? Consequences?

BB: That's hard. I tend to say "yes" to most things, just to find out what happens. But when I was younger, I'm sorry I ran kicking and screaming from working in the Film Industry as something other than a Producer/Director. I missed out on a lot of opportunities because I was pig headed. The same with working in regional tv. I got over both and now I have the luxury to be Producer/Director because of the experiences. 

MW: What's your sage advice to the young at heart?

BB: Just having a job is overrated. Figure out something that you love to do and then suffer having those "just a jobs" to make it happen. As long as you have goals, a job is nothing to sneer at. Hard work is the artist's best friend. 

Somewhere with Brick Briscoe | Substack

(c) Mark Watkins / February 2025

Thanks to Helen Robinson at Atomik PR for her help in securing this interview.

Atomik PR | Public Relations

[markwatkinsconsumerguide]

Consumer Guide / No.136 / American-Australian singer-songwriter and poet Joe Dolce with Mark Watkins.

MW: Your new album…

JD: My new album ‘Green-eyed Boy of the Rain’ has been in the works for 10 years. 

I wanted to make an album of songs where all the song lyrics had first been published as REAL poetry in poetry journals by editors who never heard the music. This was my litmus test to prove to myself that the lyrics were in fact stand-alone poems not just song-lyrics that people erroneously ‘called’ poetry. 

Over the 14 years since I started doing this, I’ve had about 150 song lyrics published as serious poetry so I picked the 12  that I liked best and made this record.  

No one has ever done this kind of thing before. Ever. Either in the worlds of music or poetry.

I produced the album with a co-production credit to my engineer who came up with some important and  incredibly creative ideas throughout the recording. 

So many different themes: there’s a song about the little known assassination of Martin Luther King's mother, ‘The Murder of Alberta King’; a song about a Italian gangster named Paul Kelly who started the Five Point gang in New York and a song called, ‘Mr Q’, about my hometown paedophile as when I was just 10 years old he owned the comic book shop, oddly enough. (This track also ties in with your question later about Marvel comics!)

Love songs, too. The title track - on the theme of jealousy and lost love - is the first song-lyric I ever had published as a poem, in 2010.

I sing a duet with my daughter called, ‘The Murder of Alberta King’ – the first time we’ve ever sung together, and two beautiful duets with my partner Lin van Hek, ‘I Never Found Those Lips Again’ and ‘Anemone’.  Lin and I have been singing together for 44 years - as long as we’ve been together. 

Three of the song lyrics are villanelles – the Renaissance poetic structure that Dylan Thomas used for Do Not Go Gentle Into That Good Night. Nineteen lines, with repetitive lines. 

The villanelle started out during the Renaissance as a dance-song structure but over the years has only been used for poetry.

I am returning it to its roots by using it for songwriting. A perfect form for both poets and songwriters to use for writing poetic lyrics.

The other unique thing about this album - which may surprise people - is that it is very strongly guitar-oriented: themes, solos & sounds. 

The electric guitar is my first instrument that I started playing in the late 1960s in local psychedelic bands in Ohio. I could play anything back then: Jimi Hendrix, Jeff Beck and Eric Clapton solos note-for note. I especially loved Albert King’s simplicity. No shredding – just soulful simple phrasing with a great tone.

I finally decided to get back to it. I had a specially custom-built Stratocaster (with a Telecaster pickup) made to my specifications and there’s some pretty thrilling guitar ideas all through the record.

MW: In 1981, your slapstick record, ‘Shaddap You Face’, topped the UK singles chart for three weeks, preventing Ultravox having their No.1 hit with the serious, ‘Vienna’. Have you ever spoken to any members of the new wave band about this or perhaps know of their feelings? Does it matter to you either way?

JD: I have never spoken to any of Ultravox about the problems they had with my song. I never had a problem with theirs. In fact, I never even noticed, ‘Vienna’, and would’ve totally forgotten about it if the band hadn’t insisted on dwelling on my song in their press interviews.

I think, ‘Vienna’, is a good song – but not a great song - and pretty representative of the early 1980s trend in style-over-content music that was so prevalent then. Not really the kind of song that you hear a lot of people doing cover versions of, however, in that sense it was more of something specific to the culture of the 80s and more or less irrelevant to the present.

‘Shaddap You Face’, on the other hand sounded like it was written in the 1940s & 1950s and could have (and probably would have) been sung by Dean Martin or Frank Sinatra. Ringo Starr could have done a great cover version. He still might! haha.

It hasn’t dated because it was never really part of that 80s culture. Two of the members of Ultravox have said in print that they always liked my song – keyboard player Billy Currie said he wished he had written it! Only ‘Midge’ Ure had a ‘bug’ up his arse, so to speak.

MW: Born in America in 1947, why did you move to Australia in 1978?

JD: I moved to Australia during my first marriage. We had two small children and decided Australia might be a good place to make a fresh start. It was also near my ex-wife’s parents so that was advantageous for the children.

MW: One of your early records was called, ‘Boat People’ - do you have any thoughts on the current plight of those getting on boats and crossing the seas to the UK?

JD: I’m not that familiar with the UK boat people problem. 

In 1979, when I wrote 'Boat People', I was concerned about the arrivals in Darwin of all these dangerous rickety boats. It was in the headlines every day. I had made friends with a cook at the only Vietnamese restaurant in Melbourne and would go over there just about every day for lunch. A bowl of pho in those days cost two dollars and I’d never had anything like it before.

I recorded and paid for the record myself. It got a little media attention and then nothing. So I took all the copies of the '45 single I had made over to the Vietnamese restaurant and gave them to the cook and asked him to distribute them amongst the fledgling Vietnamese community. As a result I was invited for the next two years in a row to perform at the major Vietnamese festivals in Australia. It was translated into Vietnamese and even written-up in newspapers in Hanoi.

MW: What first made you decide to incorporate performance art and poetry into your cabaret-type-music?

JD: My ex-wife was a modern dancer in Berkeley, California. When we met, we wanted to do something together so we did a fusion of my music and her dancing. We had a 4 member group. That’s where  the performance art had its foundations. I’ve always been attracted to dance and dancers. My first girlfriend was one of the best go-go dancers I ever saw. I dated dancers from the Australian Dance Theatre. My ex-wife was an improvisational dancer. My partner Lin is a tremendous party dancer. Very hot. Just watch the ‘Intimacy’ video clip online. I guess dance and music are natural partners.

The poetry was a different story. 

I wrote (bad) poetry before I learned to play music. The first girl I fell in love with, and took to my high school prom when I was 16, was two years older than me and attended a local prestigious girls’ college on a Creative Poetry scholarship. She even credited me, in my high school yearbook, with helping her with her sonnets! 

In 2009, I found myself being very critical of the quality of the lyric-writing in songs, at the time, especially new songs by Bob Dylan and Leonard Cohen. 

I felt they were producing way below their potential and their best early work - but no one else seemed to notice. 

One day I decided that if  I’m going to be critical, I’d better be able to walk-my-talk and to do it myself i.e write quality poetry and poetic songs. So I started writing verse and sending it out to magazines.  

Gradually my poems began to be accepted for publication. I became quite prolific at writing and had a lot of success with getting them published, even winning important poetry competitions.

MW: For you, as in the musical, is life a "...cabaret old chum",  - if so how?

JD: I’ve never considered my music "cabaret" but I suppose you could look at it that way. My partner Lin and I created a two-person show called Difficult Women which we called a "literary cabaret". We toured all over the world for fifteen years including Okinawa, Canada, New Zealand, Estonia and played fifty shows at the Edinburgh Festival.

I’ve always considered, ‘Shaddap You Face’, to be  the ‘Yellow Submarine’ of my song repertoire! I’ve  always looked at it as simply just a good song because when I was growing  up, the kind of songs that stuck with me, like most of kids, weren’t romantic songs but songs that had something humorous and colourful about them:  ‘The Purple People Eater’, ‘Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini’, ‘Alley Oop’ - hundreds of unforgettable songs with catchy hooks. To me, and kids in general, they are just songs. The term ‘novelty song’ was invented by adults, not kids. They don’t pigeon-hole music like that. They like something or they don’t.

‘Shaddap You Face’, also had a strong rebellious and singalong component and at that time that was pretty rare. Nowadays everyone knows the lyrics to just about every pop singer’s songs (e.g. Taylor Swift) and sings along at the top of their lungs. But in the 80s, the world was saturated with glamour-pop – the singalong, which had been essential during the protest folk movement of the 1970s, had become obsolete.

MW: What is your favourite musical of all time - why?

JD: I don’t really have any favourite musicals. It’s not really my go-to kind of entertainment but I suppose The Wizard of Oz and Mary Poppins are up there. Brilliant characters and songs.

MW: Tell me about some of your favourite records...

JD: ...pretty much any Beatles album. The Byrds. I love the British Invasion of the late-60s. Most late-60s & early-70s bands: Zombies, Kinks, early-Rolling Stones... too many to mention.

I have a rare LP by The Singing Nun, Lyrics For Lovers, by Dirk Bogart (a spoken word album from 1960), The Youngbloods, Blonde On Blonde (my favourite Bob Dylan album, with the dumbest title) and The Band. Louis Armstrong’s Hot Five - his trumpet playing strongly influenced my blues harp playing. Anything by guitarist Albert King. 

MW: Rank your Top 5 comedians and give details as to why you like each one… 

JD: I generally steer away from meritocracy when talking about art – or I try to as much as my ego will let me!  A truly unique artist exists in a world immune from criticism. I mean how do you rank guitarists like Robert Johnson, Jimi Hendrix and Segovia? Picasso, Van Gogh or Monet? Whitman, Lorca, or Cavafy? Hemingway, Faulkner or Henry James? Impossible. They all have their own unique space and style. Meritocracy; i.e. who’s first, second, third, etc is for the world of sport and pop charts – but not true immortal art.

Comedians who have influenced my style however are: 

Jerry Lewis – his physical humour and ability to make fun of himself.

The Marx Bros – probably my all-time favourite comedians. They all were musicians, too. My Italian broken-English ‘Giuseppe’ comes directly from Chico Marx, who strangely enough wasn’t even Italian, but Jewish!

Andy Kaufman -  taught me conceptual and intellectual comedy-  how to create something outside the box that the audience doesn’t  see coming.

Richard Pryor– I saw Richard Pryor live in a big arena. His irreverence and willingness to make very uncomfortable racial observations that were somehow endearing to both blacks and whites was very visionary.

Henny Youngman – the king of one-liners and audience come-backs. e.g "If God can make penicillin out of mouldy bread, He can make something out of you." Stuff like that. Handy to have a couple of dozen of these on hand for hecklers in the audience. I’ve always felt that a good one-liner was practically a zen parable.

MW: As a child, did you “marvel” at comics? 

JD: When I was a young child, I had the biggest collection of Marvel comics of anyone I knew. I owned the first issues of Superman, Batman, Green Lantern, Fantastic Four, Spider Man, so many others. Stacks of them that went up to the ceiling that would be worth hundreds of thousands of dollars now.

Unfortunately, when I went off to college and basically stayed away from home for five years my mother threw them all away. Listen to, ‘Mr Q’, on my new album. About our hometown paedophile who ran the local comic book shop. Very problematic for kids who liked comic books.

MW: What book have you re-read the most, which book have you started but never finished, and which book have you yet to read but really want to (one day)?

JD: My reading changes from year to year depending on what else I’m doing. I think the first book series I read was the James Bond books, long before the films were made. I had read all of them. And then I think I moved into poetry: Rilke, Walt Whitman, E.E Cummings, Cavafy. I like popular novels rather than classical novels. I read the Godfather, the Red Dragon and Queen’s Gambit long before the films. Some of the more serious books: like, Varieties of Religious Experience, by William James or Robert Johnson, Understanding the Psychology of Romantic Love. I read hundreds of feminist books during our Difficult Women show days. I have a huge poetry collection.

The book I have never finished – and probably never will - is James Joyce’s Ulysses. 

The book I still haven’t read but want to: Dante’s Inferno.

MW: What are your plans for Christmas 2024 (personal & professional)?

JD:

Professional: to develop, and sell, over the Christmas period, both the new albums I have produced this year – my own and my partner Lin’s Intimacy album. (We co-wrote and she sang the title song in the first Terminator movie in the 80's). Also to sell my cookbook, which won a Gourmand Award last year, and my perennial Christmas album. I get many requests for the Christmas album, recorded in the 80s. It is out-of-print but available on my website as a digital download.

Personal:  We have a big extended family meal on Boxing Day, the day after Christmas, and then go bush for two weeks - which is a 12-hour drive north and then another hour inland into the mountains. We have a secluded place in the middle of a state forest that requires a four-wheel-drive to get to, a bush house built of stone &  bush timber. We’ve been flooded out and had a house destroyed by bushfires. We say we go there for the “inconveniences” - wood chopping, carrying water, going for long walks. Once we get in there, we  put the car keys away,  put our money away for a week or two-  we don’t even think about things like that - we bring everything we need. I usually spend the time writing a lot of poetry, getting a bit fitter (I always lose about 5 kg from those trips without even thinking about it), cooking outdoors on campfires, swimming in the creek - beautiful swimming - that’s our Christmas!

JOE DOLCE WEBSITE : www.atthenoisycafe.com

(c) Mark Watkins / November 2024.

[markwatkinsconsumerguide]

Consumer Guide / No.135 / singer Englane Read with Mark Watkins.

MW: What’s your main connection to music?

ER: I’ve been singing ever since I could talk! Music was the most important thing to me in life growing up - it was an escape from various hardships and horrendous bullying.

I loved getting into all these obscure indie bands that I’d discovered from listening to the Evening Session on BBC Radio 1 in my bedroom. I never had a TV in my bedroom when I was young, and I still don’t! The radio is all I need. 

MW:...and your association with Richey Edwards? 

ER: I adore Richey, and I run a Facebook group and X/Twitter page dedicated to him, called Painfully Beautiful.

Richey James Edwards - Painfully Beautiful | Facebook

Painfully Beautiful (@RJEPainfully) / X

I just think he is one of the most underrated lyricists ever, and his stunning beauty and raw talent remains unmatched. 

MW: Do you have your own theories on his "disappearance"?

ER: Sadly, I think he is no longer with us.

MW: What’s your favourite Manic Street Preachers single and album?

ER: I have loved 'La Tristesse Durera' since I was 10, so either that or 'Faster'.

The Holy Bible is Richey’s masterpiece, so that’s my favourite album - but I have SO much love for Gold Against The Soul!

MW: What are your thoughts on the Oasis reunion tour?

ER: I had a very vivid dream that I was hanging out with Liam & Noel the other night. They were thanking me for something.

I’ve met Noel before, and he was lovely!

I’m not really fussed about the reunion.

MW: You enjoy record hunting. Where are your favourite “haunts” and what records have you picked up recently?

ER: AAA Records in Newport on the Isle of Wight basically has everything you need! 

Triple A Records AAA Vinyl Newport Isle of Wight – AAArecords

I only really collect fully signed records and memorabilia. Mostly Richey-era Manics, but also some fully signed stuff from Muse & Suede.

My favourite piece from my personal collection is a fully signed Holy Bible tour programme from 1994. Apparently the tour programme itself is rare, but I’ve never actually seen another fully signed one! 

MW: What was the last book you read, movie seen (at the cinema), event attended? 

ER: The last book I read was actually a reread of Withdrawn Traces, which in my opinion gets closer to the truth about what happened to Richey than any other. 

I don’t really have the attention span for movies, haha. I think the last movie I saw at the cinema was Lucy!

The last event I attended was the opening of the Isle of Wight Festival exhibition a few weeks ago at AAA Records which was invite only - Dick Taylor from the Rolling Stones was there, as well as the likes of Peter Harrigan and Tony Steyger - we got to watch his Director’s Cut of the recent archaeological expedition at Afton, which is where the very first Isle of Wight festivals were held! Simply an honour.

MW: Tell me about your ebay shop…

ER: It’s called BestBeliefBoutique! I sell a variety of different things, from designer goods to rare t-shirts and I am currently selling some seriously cool archival darkroom prints of early Manic Street Preachers - hand signed by the world renowned photographer, Martyn Goodacre. 

They are truly stunning! 

bestbeliefboutique on eBay

MW: Why are you such a fan of Jamie Vardy?! 

ER: I think he is great, it’s amazing that he still plays so consistently and is still a prolific goal scorer for his age. I love how loyal to Leicester he is, and he’s always seemed so wholesome. I think he’s pretty cute, too!  

MW: Where are you on the introvert / extrovert scale and what are the advantages / disadvantages?

ER: I’m probably somewhere in the middle. I actually find it exhausting to be socialising for too long! I think being a bit reclusive has more advantages than disadvantages, haha.

MW: What ability / skill do you have that not many people know about? 

ER: I can do impressions of people! I can also make up songs on the spot. I can act, too. 

MW: What ability / skill do you wish you had?

ER: I can do a variety of different accents - Australian, American, Scottish, Irish, Liverpudlian, Mancunian, Yorkshire, etc. it’s just something I’ve been doing since I was little! 

I can do impressions of people like Cher, too. And a stupid singing impression of Matt Bellamy. 😅

I can also make up songs on the spot - give me ANY backing track and I can make up a song - I’ve even made up songs along to adverts before! I can act, too. 

I wish I could speak fluent Tagalog (Filipino) and Spanish. I know some, but I wish I could just take a pill or something and instantly be fluent! 😂

MW: How does Autumn pan out for you in terms of your (known) plans…

ER: Well, it’s my 42nd birthday at the end of September, so I’m looking forward to that as my partner always spoils me rotten!

(c) Mark Watkins / September 2024

[markwatkinsconsumerguide]

Consumer Guide / No.134 / Stuart St Paul (Stuart Aikman) with Mark Watkins.

Broadcaster, Cruise Ship Crime Writer, Director, Stuart's represented by:

Book Stuart St. Paul | Speaker Agent (champions-speakers.co.uk)

Stuart St Paul Agent Public Speaking - Kruger Cowne

MW: How did you get cast in televisions Radio Phoenix, and tell me about your part?

SSP: Radio Phoenix - no one asks about that. You have either struck lucky or asked the best question I have ever been asked about my career. That TV show is never brought up. It is dwarfed by other shows, however, it is, as you so cleverly spot, the most important turning point of my career. Not that I knew it then.

I was a "sixties/seventies DJ" and desperate to be on the pirate ships. I loved radio. By about 1970, I was getting known and had spoken with Ken Evans about joining Radio Luxembourg (The Great 208!), but was still too young (16). As the seventies started, I was DJing at the Room At The Top club Ilford and was headhunted to Mecca (who ran nightclubs). By late 1971, I was the DJ at the Lyceum in the Strand and the Empire Leicester Square, probably two of the most important clubs in England back then. I didn’t join Luxembourg because the BBC offered me and a few other DJs the chance to be trained in radio.

I started with a residential course in Evesham (1973). I was meant to sleep in the almost WWII-like dormitory but I was AWOL every night speeding to London in my Mercedes 350SL to DJ for Mecca. After 3 months I was posted to BBC Broadcasting House London. I was 18/19.

As I sat in the backrooms of Radio 1 learning, I can remember Head of Radio 1, Doreen Davies, saying to me, "Don’t worry, you get there one day.” But the station took in two new faces from 208 and I realised that the BBC only employed stars. So I needed to leave to come back to get the breakfast show that both Tony Blackburn and Noel Edmunds had trained me for as I assisted them.

As 1975 broke and Capital started, the DJ’s at the United Biscuits Network (UBN) got poached by the new commercial station. I ended up doing the night shift at UBN after my day shift at Radio 1, and the clubs in the evening. 

I started the famous disco pub the Dun Cow in the Old Kent Road. That became my pre-Mecca pub gig. So, my day went, Radio 1 breakfast show, BBC staff shift over to the Dun Cow, 11pm off to Mecca, then after Mecca the night time show at UBN and straight back to Radio 1. Somehow it worked and I slept a bit at weekends.

When Mike Smith got the Radio 1 breakfast show I was gutted. I went from Metro Radio in Newcastle to Radio Orwell in Ipswich to be nearer to London, but I had missed that boat Mike was now sailing. 

Then came the call from Television South (TVS) about Radio Phoenix. It was like winning silver or bronze… all I knew was that it was not gold. 

I was asked to join as DJ "Dave Farrell" for four episodes over two weeks. It would not disturb my radio career too much so I took the challenge. My job was to be the radio DJ in vision, and teach the actors how to be real DJ’s because series one had failed to be real. I was scripted to be the DJ that Radio Phoenix was going to sack by episode 4.

MW: Was Radio Phoenix based on a current ILR (Independent Local Radio) station at the time, in whole or part?

SSP: They wanted it to be real but the first series was far from it. My job was to show them how to talk over the intro and hit the vocal, how to watch the clock, speak with the news reader while the song played, and take the cartridges out for adverts while filling in a PRS (Performing Rights Society) list as everything was manual.

I guess I did it pretty slickly, but then after ten years in radio with BBC training one would hope so. It appeared the other actors could not get real, so before the two weeks were out I was offered a series contract to be the real DJ that would make Radio Phoenix come to life. The problem was, the show was already dead. The first series had killed it, and series two was only being shown on parts of the network.

MW: Why do you think the series was short lived, apparently only reaching TV audiences in the south and south west of England?

SSP: One thing I hate is when actors in film or TV try to be news presenters, or pretend to be DJ’s. I see straight through it. Series one of Phoenix had killed the second series before it began, and I was there to give it CPR. 

It was also in a 5pm kids TV slot, but with adult themes, smoking and a complex entertainment industry which was neither kids nor adult. It needed more than CPR, the show needed a make-over.

However, I was learning fast about TV.

MW: Did Radio Phoenix try to rival the BBC TVs detective fiction drama, Shoestring (based on a fictional radio station in Bristol)?

SSP: No, that might have been nice, but we were on just after school. Grange Hill not Shoestring! Radio Phoenix was a confusing show and I was learning what it was like to produce for the ITV Network.

MW: Aside from Radio Phoenix, did you have/have you had any other involvement, specifically with TVS? 

SSP: Whilst at TVS I had approaches from some of the best acting agents, and I joined one. I was up for parts from Brush Strokes to presenting Basil Brush and Blue Peter. I played loads of parts on TV from Minder to period dramas but I hated acting, and I did not like the system of waiting to be called for work. That was never going to work for me. 

MW: Next...your radio times at Metro Radio and Radio Orwell... including playing the music...

SSP: I had joined Capitol Records at EMI in Manchester Square after leaving BBC Radio 1 & 2. Capitol wanted me to promote their artists around the country on the radio. I wanted to promote myself to new expanding radio stations growing around the country. The job expanded fast as I broke Mink DeVille with 'Spanish Stroll' and had six Radio 1 Records Of The Week in less months.

I joined Metro early 1978 to take over the breakfast show. That was part of my plan - to end up at Radio 1 on the breakfast show, but it failed. Newcastle was too far from London, and although I did tests to present a new TV show that was to be called The Tube, I was not right for that. I was breakfast not gritty. They made the right choice. 

So I moved from Metro to Radio Orwell to get back south. I was into Motown, soft rock, and pop.

A breakfast show DJ has to play popular hit records. I loved all music, but you don’t get to play album tracks or The Eagles in the morning. Plus, as soon as that record is playing you are working, talking with traffic & travel, news or the person from ‘traffic’ changing the advertising cassettes. I joined Orwell in 1979 and was probably there in some form for about three years.

Going back to the band, Mink DeVille, I spoke on the phone to Willy DeVille in New York shortly before he died. What a loss. I wanted to use a track of his in one of my movies. I had got a track from Bryan Adams and an REM song. He agreed and we chatted about the old days, but the co-writer, a German, tried to hold me to a financial ransom that I would not accept so it never got used. A huge talent, lost. My grand children were watching The Princess Bride and I said, "the guy singing that was a friend of mine". They just see me as granddad and have no conception how that would connect.

MW: You’re a man of many roles and much experience in the entertainment business, but what does a Stunt Arranger do?

SSP: Most people, including (unfortunately) many in the film industry, have no idea what Stunt Arrangers or Coordinators do. It would be a huge answer. From taking the script's ambition, explaining what the budget and location will allow, engaging the rewrite, then planning, booking safety, performers, having tech built, then producing the paperwork for the producer to show to insurers and lawyers. They design the stunt, the action. The Production designer then budgets and builds what they need, the insurers approve or disapprove, the employer chooses to take or not the risk and expense. All of this needs to be courtroom proof.

MW: What are your Top 5 memories/experiences that instantly come to mind…

SSP: 

1. Radio Phoenix because it changed my career. As friends said, "Video Killed the Radio Star". Mike Smith was not leaving the breakfast show so I needed a TV plan.

2. Juliet Bravo… a sleepy BBC TV show that I very quickly became a head of department on, Stunt Arranger, and I learned how BBC TV worked. When that detective show was canceled, the team, me included, just became the makers of a new show called Casualty.

3. The plane crash on Emmerdale. I was part of the bricks and mortar at Casualty and had a premium position as a Stunt Arranger at the BBC, but Emmerdale needed to destroy the village and have a huge event to change the show. They called me and I left Casualty and went north. I stayed as a consultant to Emmerdale for 26 years.

4. Being the Queen Alien for James Cameron in Aliens. I never studied my career, or thought the people I worked with were different, or had any idea how lucky I was or even time to count the spoils. It was how I grew up in the pop music industry and I went from job to job. Working with Micky Most as his brother David was my best buddy. Doing million dollar pop videos for Duran Duran or Elton John. I was just rushing between many, many jobs. Now I sit back I can see how crazy it was and how the dots joined up, but my insane work in 'Wild Boys' got me the A gig on Aliens.

5. The Krays - music and film again. I had met with a lot of villains (as you do working in west end night clubs) such as working at south London’s first disco pub, the Dun Cow in the Old Kent Road, and I met them all again while making this great movie.

I repeated my pop music and film combination with Bula Quo thirty years on. (Re-meeting them on Coronation Street was written in the cosmos, meant to happen. I was seconded by ITV to join "Corrie" from the sister soap in Leeds to handle the rock stars action performance in the soap and make them feel at home).

… and my career hadn’t even really started yet!

MW: You’ve worked with so many people, but tell me about just this one, comedian Alexei Sayle…

SSP: Wow, that’s left of field. I walked into BBC Light Entertainment as a Stunt Arranger on several comedy shows. I was a member of the Russ Abbott team, then Les Dennis, The Fast Show, and Alexei Sayle was another live TV comedy show (a show recorded with a live audience - I was used to working live having done ten years radio and presenting). More recently I went back and did two series of Mrs Brown's Boys for the BBC.

Alexei was tough. Funny and tough. He was a physical comedian that would walk through a door, crash a window and bounce. Few do… most read the script then look at me with an expression that says ….’and?’

He, like so many who make it, knew what worked and what he wanted.

MW: Record collector/radio producer Phil Swern has sadly passed away. Did you know him? If so, any particular memories…

SSP: Very much so. The first connection would have been at Bell Records, next door to RAK in Charles Street. After I joined the BBC he was producing Alan Freeman in the smoke filled studio Fluff had. I occasionally assisted on that show, and like working with all the masters, I was lucky to have had that one to one experience. 

MW: How did you meet your wife, Jean Heard?

SSP: While at Metro, I was cast as a guest in the local Panto (1978). She was the fairy. When she was heading back to London after the run, there was no way I was staying in Newcastle, as much as I loved it. We have been married 44 years and have two children, and now Luke has given us two grandchildren.

MW: After 50 years in TV & film, what does retirement look like to you and your wife Jean? Your daughter Laura is in the spotlight now, how?

SSP: I don’t miss the stress of the movie industry. I have always missed old-school radio and I now present shows in theaters talking about how to work consistently for fifty years plus in this mad industry and do it on your own terms. Remember, I have chosen the films I have made and chosen topics that stretched me. The sex trade, incest, body part smuggling (although that got rewritten into a comedy)… 

Both my kids have become stars. Luke left acting to go into the business world, and Laura is currently filming with my mate Sean Bean in a crime series. You will see a lot of her this autumn. 

I am lucky. I have learned to slow down and I now have seven crime novels out and am writing the eighth. I tour the world on cruise ships, invited to talk about my first book, Cruise Ship Heist, and a career in A-list entertainment.

On the ships I sometimes fill a theatre akin to a modern West End Theatre with 1000+. I work theatres and conference venues where corporates talk health and safety and all sorts go on.

I love meeting people, talking of the old days as they all remember a favourite show. I am treated very well, fed lavishly, and occasionally drink Carling Black Label. 

Cruise Ship Heist will be a series or a movie one day.

Cruise Ship Heist: Cruise Ship Crime Investigators (CSCI Cruise Ship Crime Investigators Book 1) eBook : St Paul, Stuart, Withington, David, Heard, Jean, Aikman, Laura: Amazon.co.uk: Kindle Store

I've just celebrated my 70th birthday with friends and family. In fact, I interviewed The New Seekers at The Party In The Park at the Tyneside Summer Exhibition in 1978, and here I am, in 2024, still great friends with Marty Kristian.

Where did it all go wrong?! LOL

Stuart St Paul - was the Queen Alien in Aliens - Cruise Doris Visits

Stuart St Paul (@stuartstpaul) / X

(c) Mark Watkins / September 2024

[markwatkinsconsumerguide]

Consumer Guide / No.133 / DJ David Hamilton with Mark Watkins.

MW: What’s your new book called and what’s it about?

DH: It's about the long and winding road from the farm where I grew up and where I broadcast from now, and all the places in between. 

| Austin Macauley Publishers UK

MW: Why do you think you’ve lasted so long in the “music game"?

DH: Ive been lucky that the right opportunities came up at the right time, including the launch of Boom Radio during lockdown.

MW: 1976 - how did your Hot-Shots LP come about?

DH: It was a compilation album of Records Of The Week on my BBC Radio 1 show, which I called Hamilton`s Hot-Shots. It was a Top 20 album at the time compilation albums were allowed in the charts.

MW: 1977 - how did it feel to be at the height of your charismatic powers with networked afternoon show on Radios 1 & 2, plus TV work presenting on Seaside Special & Top Of The Pops...

DH: Probably the most exciting time of my career. Very few programmes were simultaneously on Radio 1 and Radio 2, certainly not daily ones.

MW: Describe a typical day presenting on Radios 1 & 2…

DH: Didn't really do a lot of prep. Rocked up at the studio about half an hour before airtime and ad-libbed it all.

MW: To your knowledge, did any Radio 1 DJ’s date any of the Top Of The Pops dancers?

DH: The producers didn't like that, so none to my knowledge.

MW: What did you enjoy most about time on 210, the least? In hindsight, do you regret joining and not staying on at Radio 2, hoping for programming changes there i.e "more Madonna less Mantovani?!"   

DH: I had to leave Radio 2 because the music had become so awful and 210 gave me the chance to play the music of the day that everyone wanted to hear. Knowing what happened to stations like 210 in the future, I probably wouldn't have made that move but it was an example of a very well run local radio station.

MW:  As a top broadcaster, across decades, many radio stations, how do you feel about sticking to playlists?

DH: I don't like narrow playlists. They're repetitive and boring. Luckily, at Boom Radio we have over 15,000 songs and I do have some input.

MW:  What was so special about 210’s Keith Butler?

DH: Keith became a good friend. We had lots of laughs together. I recommended him to the bosses at Capital Radio. They gave him overnights. He was worth a lot more than that and should have been a top jock on a top station.

MW:  In the 90s you presented ‘All Clued Up’ for TVS Television, and those lit letters...

DH: That's right... the big catchphrase on 'All Clued Up 'was, The Stinger!

MW: Is it true you used to write for a football magazine? 

DH: Yes, it was Soccer Star. I wrote for them while I was still at school. I never really liked comics so growing-up bought Soccer Star and Football Monthly.

MW: Which football team is top of your League Ladders…and why?

DH: It was actually Shoot! that tended to have the League Ladders. Fulham is my team. I was a director in the 70s and match day MC in the 90s and 2000`s.

MW: What position did you play for the Radio 1 football team?

DH: I was a raiding winger. John Peel and I were the only ones interested in football at the radio station.

MW: Tell me about your connection with Jenny Lee-Wright, of Benny Hill, Generation Game and Whodunnit fame?

DH: She was the girlfriend of Rocky Taylor, the stuntman, who played football with me in the Showbiz X1.

MW:  Finally, let's get bang up-to-date with your current activities, weekdays, on Boom Radio…

DH: Yes, I'm broadcasting from home, Monday to Friday, Noon-2pm.

Boom Radio (boomradiouk.com)

Welcome - David Hamilton

David Hamilton's Hot Shots | Facebook

(c) Mark Watkins / July 2024

[markwatkinsconsumerguide]

Consumer Guide / No.132 / Actress and singer, Sukie Smith, with Mark Watkins.

MW: What important decision in your personal life have you based largely upon intuition? What about professional life? How did these choices pan out?

SS: That's a really interesting question and my relationship and acknowledgement of intuition has just come back into focus. I’ve sort of denied it on and off for a few years and that is never a good thing. I think my intuition is always having a dialogue with me, but I have a willfulness and self-destruction that pushes it away ... I can’t ignore it, but I can deny it. I think intuition plays an everyday part in assessing the tone of a situation, safety, potential joy etc. but specifically tangible decisions.

Early on in my acting career I was offered a huge lead in a long running well respected series. I turned it down. They were disappointed, my agent was angry, my contemporaries thought I was insane. I loved the show, the cast, the directors, the part was amazing ... but I just didn’t feel that it was right ... six months later I met Mike Leigh and made Topsy Turvy with him which wouldn’t have been possible if I was committed to the series. So, I was justified. Haa.

In music, it's about a sensation around people, whether there is a connection, a teletherapy between you that means you can speak freely about music somehow...abstract...gentle. I have to trust someone implicitly and quickly to be able to communicate. I guess that's intuitive, knowing who to be private around and who is receptive to ideas. 

MW: How easy or difficult was it to obtain your Equity card and, fairly concisely, what was the process to get you there?

SS: I auditioned for a theatre who had an equity card. I played Tiger Lily in a production of Peter Pan which I thought was very glamorous. I had been to The Royal Central School Of Speech And Drama for three years and was taken on by a big agent. She helped me find a union card. In that production I was also a mermaid with a tail made out of a duvet singing a siren song behind a cardboard wave ... yes...very ridiculous.

MW: How did you get the part of Laura Branning in EASTENDERS? Describe your favorite scene…

SS:  I auditioned for Laura Branning in Eastenders in a distracted way because I had just signed to a record label and was about to release In Case of Emergency, so I didn't really acknowledge what a huge deal it was in terms of the amount of people who watch the show. I adored working with June Brown and Barbra Windsor, they were so lovely, they treated the whole cast like it was one big family, really invested in their characters, stories and performances. The director who cast me insisted my character never smiled: 0. 

My favourite scene? The first entrance of the character was brilliantly dramatic ... with the music starting just as I delivered my killer line. It was all astonishing and watching it a few months later was surreal... a David Lynch style twist of reality. 

(Here's a clip of another scene in Eastenders, Max confronts Rachel)

MW: You’ve done a cross-section of wonderful artistic performance things, and continue to create; do all these arrows in your quiver represent you not wanting to be pigeon-holed? OR would you have liked to be known specifically for one particular aspect? 

SS: Thank you for noticing. I wonder if our culture invites us to settle and stick with an identity as an artist (or as any defining notion) too soon, or at all and limits us because of it. I am very interested in musicians and artists who explore lots of disciplines. Because it's all the same isn't it, it's an outpouring. I cherish the exploratory paths I am on, there’s not an end goal…it's all about being investigative. I am curious about people's methods of thinking, so I made a podcast to ask them about it. I enjoy excavating a character from a text written by someone, so I make films etc.

Being an independent musician means it's necessary to do many many things, writing, demoing, recording, rehearsing, playing live, making videos, marketing. A LOT. I love collaborating with other musicians or artists, being part of someone else's world. Working on a Bolts Of Melody track for Adam Franklin or being involved with a live radio play written by Bill Drummond (KLF) and Johny Brown of The Band of Holy Joy or singing backing vocals for Micki Berenyi’s band Piroshka. Lots of examples ... what I really enjoy is being part of something which is unclassifiable. I was very proud of my first album being listed on iTunes as such. 

MW: I bought Maxinquaye on CD in 1995. Tell me about your involvement with Trickyreincarnated, and, reflecting back, any particular memories of the mid- 90’s which ushered in a range of new music, including Britpop… 

SS: I remember first seeing the video with Tricky and Martina Topley-Bird singing ‘Aftermath’ on some late-night video show and just feeling like time stopped. What the fuck was that .... so, so brilliant ... I lived in Camden then, right in the middle of everything. It was a time soaked in music, everything was about seeing a show, being on a guest list, reading about bands, meeting bands, recovering from seeing bands, going to clubs, being so excited about everything. I was out every night at something, Blue Note, Laurel Tree, Astoria, The Falcon, The White Horse, discovering Jungle, Bangra, Acid Jazz. Labels like Creation, Nude and Food putting on nights, watching some bands become huge, going to Knebworth, being back…just astonishing and happy making. Everyone was making music, I started to write songs on a bass a friend lent me , make demos etc. Living in a big, shared house everything feeling very, very creative. It was a beautiful and inspiring time.

The way I met and worked with Tricky is a set of coincidences and near misses. I had previously worked with an artist called Silent Strike (electronic composer) co-writing a couple of tracks on albums of his after he found my music online. We didn’t meet for the longest time, just exchanged tracks via the internet. Five or six years passed and then out of the blue, during covid, he asked if I would write lyrics and a melody for an e.p he was making. I was very depressed and freaked out during the pandemic and I nearly didn’t record anything ... anyway to cut a long story short, Silent Strike had been making tracks with Tricky who heard my song and Tricky invited me to Berlin to co-write and record Hell Is Round The Corner-Reincarnated.

I had said in an interview years and years before that the only people I wanted to work with were Lee Scratch Perry and Tricky ... so deep magic. He is astonishing, summoning up a track in a day just by force of will and extreme focus...I am very, very proud to have been involved with that track ...he is a very impressive human. 

MW: Tell me about your new album, The Glass Dress And A Ringing Bell…

SS: Previously releasing three albums as Madam, and recorded them with my band who rehearsed the songs and then recreated them in a studio environment, this is the first time I arrived at a studio with my ten songs fully written, a head full of ideas and some field recordings but a more experimental and instinctive way of approaching the songs. Nick Trepka and I would speak about the sonic atmosphere of a track and listen to any field recordings I might have, a storm in a harbour, a medical machine, wind in telephone wires etc. and start to build a track around my guitar and vocals. As soon as we started to commit to a direction for the song it became very clear to me what would work or not, it was very exciting and frustrating and heady and complex! I love the way this album sounds.

I included the Silent Strike collaboration Fixed Star and also a song written and produced by Gareth Moss who when he isn’t playing bass in Madam is a prolific songwriter / producer. This track was the first time we worked together from a long time ago when he was releasing music as Vyvyn Howl. There are contributions from Adam Franklin, some guitars and keys and John Robertson, some lead guitars and Jeff Townsin on drums on a couple of tracks. All other sounds on the eight songs recorded with Nick are played by me or him. My good friend Roxanne Ducharme is an award-winning animator and AI artist, and she is making a film for 'We Try Not To Think About It Now' to coincide with the release of the vinyl version of the record, released in September (2024). 

The Glass Dress and a Ringing Bell | Sukie Smith (bandcamp.com)

MW: What are you currently reading, listening to, watching?

SS: I am reading a biography about the British/Mexican surrealist painter Leonora Carrington.

On the radio, I am listening to podcasts about fashion or space mostly, right now about designer Elsa Schiaparelli. As for music, I just bought a turntable, so I am listening to my old records from when I first started buying music, Kate Bush, Bowie, The Mamas And The Papas , mostly 'The Ninth Wave' on the Hounds Of Love. New artists, I like music that Tricky releases on his False Idols label and also very early music, quarter tone...Indian folk songs, medieval vocal stuff.

I stream movies, I watched I Am Not A Witch recently, which is amazing TV, always a documentary, I speed watched Feud with Tom Holland playing Truman Capote just to see his outstanding performance (we worked together on Lawless Heart) oh and Ripley to see Andrew Scott who I was in a play with at the Royal Court ... a scandi noir Detective thing is always good isn’t.  

MW: Up next, in order, your Top 10 records... 

10 ‘Strange Weather’ by Keren Ann (from her 2011 album, 101)

9 ‘This Is Hardcore’ by Pulp (1998)

8 ‘Leader Of The Pack’ by The Shangri-Las (1964)

7 ‘Fancy’ by Bobbie Gentry (1969)

6 ‘Lose Yourself’ by Eminem (2002)

5 ‘Lust For Life’ by Iggy Pop (1977)

4 ‘I Put A Spell On You’ by Screamin' Jay Hawkins (1956)

3 ‘Prisencolinensinainciusol’ by Adriano Celentano (1972)

2 ‘Unfucktheworld’ by Angel Olsen (from her 2014 album, Burn Your Fire For No Witness)

1 ‘Strange Fruit’ by Billie Holiday (1939)

Absolutely impossible task .. : ) 

MW: What artwork would “we” find hanging in/around your home? 

SS: A huge painting by John Lee Bird, along with other paintings and prints of his, then early works of artists I have met when I ran a gallery in Hackney, including Serena Korda and Lee Triming & colour and black and white photographs by James Alexander. Anything that painter Rachael Robb has gifted me.

MW: Given the choice of anyone in the world, who would you invite for dinner? Pick as your (new) best friend? As your (new) love interest? 

SS: For dinner? I don't like eating in front of people, but for drinks maybe Mary Magdalene might have some wild stories.

Friendship? ...some beautiful wise dog, big like a bear.

Love? I am as loyal as a swan ...I could never love another. 

MW: Do you believe in God? Regardless of your belief/s, would you / do you PRAY in difficult moments? How do you feel about this, depending on whether you’re a believer / non-believer? 

SS: God by another name, or consciousness,I say thank you a lot. I don't know who to...I think my songs are a dialogue with my soul, so that's in the mix of belief / non-belief isn’t it ...this is a big subject for an interview.

When I was profoundly unwell in hospital, in and out of morphine reality, probably not going to survive, I saw another world. I wasn’t sure if it was opioid confusion or if I was seeing something other. Now I have recovered the atmosphere of that place is still vivid, like an echo or a memory of sound, a view through a mirror, through a window and yes prayers.

There is a song by Regina Spektor called ‘Laughing With’... (2009) that’s just about the size of it isn’t it ... no more suffering for anyone,no creature, plant anything. I pray for that. 

"No one laughs at God in a hospital No one laughs at God in a war No one's laughing at God When they're starving or freezing Or so very poor

No one laughs at God when the doctor calls After some routine tests No one's laughing at God When it's gotten real late Their kid's not back from that party yet

No one laughs at God when their airplane Starts to uncontrollably shake No one's laughing at God When they see the one they love Hand in hand with someone else And they hope that they're mistaken

No one laughs at God When the cops knock on their door And they say "We got some bad news, sir"

Artist | Sukiesmith.com | London

Sukie Smith (@madam_sukie_smith) • Instagram photos and videos

(c) Mark Watkins / July 2024

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Consumer Guide / No.131 / Music promoter Terri Bonham-Samuels "Gets Louder" talking with Mark Watkins.

MW: Academically, what are you most proud of achieving at Manchester Metropolitan University? 

TBS: Definitely passing the papers in statistics. Maths is not my forte. I was also given the second year student award and I came out with a 2:1 which I was so pleased with. 

MW: Non-academically, what were your key learnings from that period of your young life? 

TBS: I didn’t actually live in halls so I was thrown straight into the real world of adult life. I had to learn to cook, clean, pay and manage bills from the off. It was a steep learning curve going from living in a sleepy rural Oxfordshire village to living on the edge of Moss Side next to the Manchester CIty football ground in a flat with bars on the window was quite a culture shock. That period showed me what real life was like and how you are supposed to live it. 

MW: In your view, should 16 & 17 year olds get the vote?

TBS: I think the voices of 16 and 17 year olds is very important and, yes, they should be given the right to vote. I think those who aren’t interested in politics won’t bother to vote anyway so it will only be used by those who are astute enough to make a thoughtful choice. 16 & 17 year olds can get married and leave home so I don't see why they can't vote. 

MW: How important to you is having a pet/s?

TBS: I used to have a pug dog called Toffee, he was a huge part of our world. Animals and particularly dogs bring another avenue to your life. They become a loyal companion and really help your mental health. It’s very sad however once they have gone though so I’m not sure I could have another dog in my life. We currently have three gold fish which are much lower maintenance.

MW: What message has marriage taught you?

TBS: It is not like you see in the movies 🤣 

MW: As a teenager, what music were you listening to? What were you watching? What were you reading? 

TBS: I was listening mainly to Dog Man Star, by Suede (1994) and all the usual grunge and Britpop bands. Timeless, by Goldie (1995) also featured heavily in my life, especially when I was studying for my A-levels, and Live Through This, by Hole (1994). 

I listened a lot to the BBC Evening session on Radio 1 rather than watching TV - but TV wise, it would have been music related so The White Room, Later With Jools Holland and The Word. 

Reading-wise - Melody Maker, Q and the NME. I think as soon as I started getting into music I stopped reading books and just listened to music and went to gigs. 

MW: Why did you become a music promoter?

TBS: I have been involved in music since I was about 14/15, starting out with helping with local youth centre gigs and playing in my own band. I love music but it soon became clear to me that I’m not a natural musician, so I decided to help my friend's bands with the non-musical aspects of being in a band and really I loved it. Promoting bands helped me be part of the music scene even though I couldn't play an instrument and helped me make some really lovely friends.

I started helping my boyfriend’s band out with things, we used to go around Oxford fly-posting and then I started helping book their shows and to get reviews. I used to spend hours and hours burning CDs to be sent for reviews. Thank god for the MP3!  

In 2001, we developed a label called Quickfix Recordings to release music by bands we liked, in particular a girl band called Caliber - who we loved. 

MW: Tell me about some of the acts you are working with at the moment….

TBS: I’m currently working with The Exact Opposite, an indie alternative duo.

Singer Jamie Stuart and drummer Nigel Powell already knew they had chemistry from their time together in Oxford’s Dive Dive, which they’d formed in 2001 after their other bands – Unbelievable Truth and Dustball, respectively – broke up. On ice for 15 years while Nigel and the other two members of Dive Dive played full-time as Frank Turner’s backing band, The Sleeping Souls, and they have now rediscovered that vitality.

I am currently promoting tracks from their album Skill Issue which was recorded at Johnny Greenwood from Radiohead's home studio.

The other act I am working with is The Subtheory, a synth-based dark trip hop project founded by composer, writer, DJ and producer, Andy Hill.

The band are constantly evolving and are really picking up momentum, their last single 'Song of the Damascene' really went down well.

Both bands are great to work with and they have so much determination.  

The Exact Opposite

Electronic Music | The Subtheory | Trip Hop | Psychpop | Downtempo

MW: How does your photography fit into all that?

TBS: I tend to do less photography nowadays but generally if you see me at a gig I’ll have a camera with me. I love taking photos but hardly have time to edit them, unfortunately a lot of the photos and videos just sit on my computer. I have so much footage and photos from being involved in the music scene for so long. 

MW: Would you prefer to spend a free weekend at home or abroad? 

TBS: I’d prefer to be abroad, I hate the cold so give me anywhere in the sun and I would be happy. My favourite place is Ibiza, I love the chilled out vibes of the island and it’s really beautiful. Drinking a cocktail while watching the sunset is a magical experience. People are always shocked when I say Ibiza as they just picture it as a party island but there is way more to it than that. Taking a boat ride around the island and exploring the beaches and coves is a really amazing experience.

MW: If you could have three wishes, what would they be? 

TBS: That would be telling me I am not sure you can give your wishes away otherwise they won't come true…

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(1) Gets Louder (@getslouder) / X

© Mark Watkins / July 2024

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Consumer Guide / No.130 / Richard Pitman discusses his "Sporting Life" with Mark Watkins.

MW: As a horse jockey, list in order (of merit) your three most memorable races, and give reasons for each of your selections…

RP: 1. Has to be Crisp, in the 1973 Grand National,his brave front running and arrow-like jumping, giving lumps of weight away, was a thrill money could not buy.

2. Pendil was another electric jumper, unbeaten for almost 3 years and should have added 2 Cheltenham Gold Cups to his numerous major steeplechase victory's (beaten in a photo finish in 1973 and fell three out a year when absolutely pulling my arms out).

3. Lanzarote, won the 1974 Champion Hurdle beating Comedy Of Errors who took that race twice and was just the better horse. We made a race plan to  take the one chink in his armour, made it a stamina contest which caused him to jump right handed on a left handed course when it mattered.

MW: On race day, what factors can put you off (rider), perhaps more importantly, put the horse off, from doing its best?

RP: One chaser I rode fell 6 times yet was a good jumper at home. No obvious reason until we waved a hanky in front of his head without any reaction. He was blind !

MW: How did you feel about using the whip, and what you see go on nowadays?

RP: A monumental mistake in the 73 Grand National on Crisp, having been well clear of the field, his stamina went as a car running out of petrol. In order to get the last drop of fuel, I gave him a reminder with the whip in my right hand after the final fence. He weighed over 700 kilos so drifted left handed giving away 2 lengths but was beaten only half-a-length in final 2 strides before the winning post. I should have kept him balanced  with both hands on the reins, a costly and boyish error.

What annoys me now is every day I see jockeys getting horses into trouble when using the whip in the incorrect hand. There is so often an open side approaching a jump and under pressure a horse will often take the easy option. If, as they quote, the whip is for correction , a tap down the shoulder and guidance by the reins , will take the horse's mind off the gap. 

The flat jockeys are far better in this regard but not totally blameless. The usually faster ground and shorter distance races, is the main reason so many flat races are fought out with riders pushing to the finish not whipping.

MW: When a horse dies, do they ever have any kind of memorial?

RP: Yes, numerous memorials yet it is not lawful these days to bury horses. The two magnificent horses who fought out the 1973 Grand National, Red Rum and Crisp both have lasting resting places. Red Rum is actually buried at Aintree next to the winning line, standing upright with his nose adjacent to the finish. There is a fenced-off area with a written memorial for the public to pay their respects.

For Crisp, he has been buried in the Zetland hunting country where he spent 8 year’s retirement galloping and jumping with zest and admiration. He lies besides the driveway to the Trotters who originally planted a pink flowering cherry tree above him, now replaced with a stone wall with his name chiseled onto a huge round milling stone.

MW: In your experience, how much input does an owner, or trainer, usually have in what a jockey may or may not do in a race? 

RP: Plans will have been hatched prior to a race with a rider expected to change them for the better when situations change. Split second decisions to avoid trouble in races is a huge attribute. Like driving a car, seeing the danger before it happens, is paramount. Lester  Piggott was renowned for doing his own thing in a race regardless of his orders claiming not to have heard the plan !

MW: As a racing commentator, list in order (of merit) your three most memorable races, and the reasons for your selections…

1. Aldaniti’s Grand National victory in 1981 stands out as his rider Bob Champion had recovered from serious cancer two years earlier. The treatment was so harsh it nearly killed him. Added to that his horse had career threatening leg injuries but he was regularly told the horse would be ready when Bob was back in the saddle. Just getting to the start was a huge dream, to win it was so emotional.

2. Frankel retired to take up stallion duties after two seasons racing on .the flat winning 14 races unbeaten in top class races. He has passed on his genes to his offspring who are much sought after. His only worry was the frailty of his hooves precluding racing and exercise shoes being nailed on so his trainer Henry Cecil had plastic shoes glued to his front feet.

3. Dawn Run, a huge, narrow mare who won the Champion Hurdle and the The Cheltenham Gold Cup and remains the only female horse to do so. In the latter, she showed true grit when headed at the final fence then fought back to overhaul the three horses in front of her!

MW: Have you ever commentated for radio? 

RP: Never did radio as contracted to BBC tv racing team for 37 years.

MW: What are your thoughts on the recent safety improvements to the Grand National?

RP: The changes to the traps riders and horses had to negotiate made the race very special yet public opinion rightly weighed in favour of drastic changes. This year's race saw 20 horses in with a chance of winning just 2 fences from home which in itself was so exciting.

There is just one further trap to consider, The Canal Turn jump is actually at 90 degrees to the course causing the rider to cut the corner when aiming at the inside of the jump. The crowding from the 36 horses to save valuable ground there, could see a massive pile up if one of the leading horses falls as it happens fast with no time for evasive action!

MW: Have any books that you've read fit the description, “unputdownable”?

RP: I am an avid reader and love historical novels, especially by Philippa Gregory. All Wilber Smith’s and on a non-violent theme, all of the late Maeve Binchy’s.

MW: What's the best book you’ve written?

RP: Not published for 20 years after 7 racing based novels, the last and best is Joseph’s Mansion. Also wrote 6 non-fiction and most proud of, Fit For A Queen, regaining the late Queen Mother’s racing life celebrating her 400 hundred winners, not just a list of those horses but an in depth of the people who shared her journey.

MW: ...music tastes?

RP: I enjoy most music, mostly BBC Radio 2 and BBC Radio Oxford plus Classic FM on a Sunday morning.

MW: Based on your life experiences, what and how did you “train” your two sons in terms of useful life skills…

RP: Doubtful!

MW: What’s the greatest act of kindest you’ve received?

RP: I have been lucky to get financial and advice from those close to me .

MW: What do you think are your best traits?

RP: I would help anyone who asks, I believe you get back what you give.

The most gratifying thing I ever did was to donate a kidney to an unknown person in 2012. Ten weeks later riding in a charity race at Aintree, the first race on Grand National day. This was also the last race The BBC tv team covered, a day to remember!

Richard Pitman (@Richard44158292) / X (twitter.com)

© Mark Watkins / May 2024

[markwatkinsconsumerguide]

Consumer Guide / No.129 / Andy Hill discusses his latest electronic music project The Subtheory, and more, with Mark Watkins.

MW: Andy, introduce me to the band…

AH: Mark, we are a four piece and I'll start with Cate Debu, our singer. Then we have George Lambourne on Bass and Pat Scott on Lead guitar. Lastly and possibly least, is me on Synths and production.

I formed the band back in 2019 and it was just me and it was pretty much a total instrumental project (not sure anyone really wants to hear me sing to be fair).

Cate started writing with me around 2021 and officially joined late that year. We gigged like crazy for the latter part of that year and pretty much the whole of 2022 and George and Pat joined us to flesh out the sound at some point during 2022.

MW: Why the name? 

AH: The name came from the idea that we represent something underground, less mainstream; hence the Sub. Sub bass, Subterranean, Submarine, it's very evocative word to me. 

The Theory was my wife's suggestion and expanded that feeling of this being part of something bigger but in it's own lane (so to speak). 

The sound has really evolved from almost synth wave to a more downtempo/triphop influence but all the while keeping it's roots in bass.  It's all about the bass as someone once sung.

MW: Subtheory are Oxford based…what do you like best, like least, about the City?

AH: There is a real sense of community amongst the bands in Oxford, everyone is super supportive and usually up for collaborating. Most of the time there's little ego too (won't name names about the anomalies though).

The worst part of the City is the complete shutdown of venues. It used to boast so many but one by one they shut down, we lost so many legendary venues over the last few years, Covid didn't help but it was a lot to do with the university, greedy landlords and noise complaints which really keeps the local music scene down.

MW: Past and/or Present. In order of merit, who are your fave Top 3 male singers, Top 3 female singers?

AH: This is such a tough question but I'll give it a go. 

MALE 

1 Mark Lanegan 2 Thom Yorke 3 Nick Drake

Mark Lanegan's voice is so unique and distinctive, it adds character to any song.  It's how to distill feeling and emotion into every drop of melody - a life well lived (and sadly missed).

FEMALE 

1 Beth Gibbons 2 Billie Holiday 3 PP Arnold

For me, Beth Gibbons is so emotional in her vocals that she could be singing from the telephone directory and I'd still be listening so she's number one. 

MW: Tell me about the last book and CD you bought, and film you saw…

AH: The last book I bought was a paperback copy of my friend Dom Nolan's novel; Vine Street. I got a hardback copy on launch but it's too cumbersome to re-read often so wanted it in paperback.  It's a brilliant read so definitely check it out.

I bought a bunch of cheap pre owned CDs the other day which included Morcheeba's debut, John Lennon's Imagine and Arcade Fire's The Suburbs albums.

The last film I saw was, don't judge, Top Gun Maverick on Netflix which was high octane, leave your brain at the door type of fun.  I did see Dune 2 at the cinema a few weeks ago which was fantastic.

MW: Who is the best penalty taker in the band? 

AH: I'm going to have no shame in saying straight away it's George.  He's the only one who plays football regularly and though he's a goalie by trade, he can take a penalty. Probably Cate second I'd say if the filming of the video to our song; Camus and Sartre, is anything to go by.

MW: Who is last to leave a party?

AH: I'm not sure about this but it's not me anymore. I was always the one hard partying but these days I prefer to be in bed before 12 which is so rock and roll I know.

MW: Who keeps pets?

AH: I'm not sure if anyone has any pets currently. I still miss my German Shepherd.

MW: How did you get into hiking and what is the tallest you have climbed?

AH: I've always loved walking and love to take long walks heading no where so hiking was just a more advanced version of that. I've done Snowdon several times (in the same weekend) but the biggest was definitely Kilimanjaro in Tanzania. It was an experience like no other I've had before. 5 days up to the summit, not being able to breath properly and suffering from AMS, standing at the top for about 15 mins before trekking down again in 2 days was such hard work but ultimately one of the greatest things I've ever done.

MW: What items are usually in your backpack? 

AH: Judging by the last time, loads and loads of battery packs so I could listen to music. Oh and Vaseline for the feet, my top tip is to smother your feet every morning in Vaseline and you won't get a blister.  Also every combination of Haribo's available!

MW: Tell me about your radio show and your usual playlist material...

AH: My radio show is called Electropod and goes out fortnightly on Windrush Radio (plug plug plug) and I tend to play mostly downtempo, trip hop, future garage, ambient and classic synth based tracks. Boards of Canada, Caribou, Bonobo, Flying Lotus and Massive Attack usually feature heavily.

Windrush Radio | witney

MW: What are Subtheory’s Summer plans?

AH: We are currently finishing off our debut album; Shark Tank, so focusing on that although there are a few warm up shows we've got planned to keep our hand in.  Once that's released in August we'll be booking more shows to support it so hit us up if you want us to come and play!!

Electronic Music | The Subtheory | Trip Hop | Psychpop | Downtempo

Thanks to Terri Bonham-Samuels (Gets Louder) for helping to facilitate this on-line interview.

© Mark Watkins, April 2024

[markwatkinsconsumerguide]

Consumer Guide / No.128 / Joey Smith of THE DEAD MEDICINE BAND, with Mark Watkins.

MW: Tell me about the band - the name, the members, the sound you make...

JS: So The Dead Medicine Band at present consists of myself (Joey Smith, 30 something) I’m the singer, guitarist, songwriter and overall dogsbody of the band. 

David “Boggy” Gillooly is our groove machine. The bass player that gels the thing together. "Boggy" is definitely the linchpin of the ensemble. He’s the one who brings the measured and accurate head to the group. He tethers me and "Bonzo" to reality.

Adam “Bonzo” Jenkinson-Graham is the thunder of the band. AN absolute behemoth of a drummer. He’s got an incredible technique. He can bring light and shade with ease and without his touch, I can honestly say, there wouldn’t be our sound.

The band's sound is always a difficult question. It’s easy to reel off a list of bands that we have taken inspiration from, but for me, I’ve always felt that it’s better to be ambiguous and let the listener decide. That ambiguity is definitely how I like to write lyrics. Each song has elements of things personal to me, which I think, as the singer, is important to help them come across but I always have the idea in the back of my mind that the listener can take their own entirely different interpretation of what I’m trying to convey. On the other hand, it’s clear for all to see that there’s a huge dose of 70s progressive rock mystique mixed with modern psych groove. Hopefully it’s just good music that people can enjoy without the need for pigeon holes.

MW: What do you like, culturally?

JS: I can surmise the answer in one word, Manchester. We all live in the city and have moved here from different parts of the country, so we’re definitely not a “Manchester band” but the city as a whole, oozes culture. Art and music are embraced here like nowhere else I’ve lived. From south cemetery, where The Smiths song meet me at the cemetery gates refers to through to Temple bar, which Elbows track grounds for divorce mentions in the line, “there’s a hole in my neighbourhood, for which I cannot help but fall”, the city is a continuous source of inspiration. Every old fella in any pub across the city is a John Cooper Clarke after a few ales and that gritty, northern, bleak sense of humour and outlook inspires everyone who comes here.

MW: What are you reading, watching, listening to?

JS: Genuinely. I’ve been in so many bands and worked with other musicians who aren’t that into music. The Dead Medicine Band on the other hand, are the polar opposite. We’re constantly sharing new music in our group chat. It’s a real mix of old and new too. Streaming has both been a blessing and a curse on the music industry. It’s single-handedly killed the art of the album but on the other hand it’s allowed access to incredible music that 30 years ago you’d have never come in contact with. 

There’s great independent labels like Heavy Psych Sounds reissuing stuff like The Brown Acid compilations, which is a wealth of great fuzz rock from the early 70s. New bands-wise, I often hear, “there’s nothing good that’s coming out”, and in reality it’s just not true. There’s amazing new and upcoming bands, doing unbelievably cool stuff, from established bands like Goat, who, besides Sabbath at Birmingham Academy (for a warm-up gig on the 13 tour) are easily the best band I’ve ever seen; Uncle Acid and The Dead Beats, Large Plants and Graveyard, are on constant rotation for me, but there’s new emerging bands like De Wolff, Rosalie Cunningham, Deaf Whip and Silverroller that are tearing up the stage. In reality, I think it’s a case of, if you really want to find new great music, it’s there you just have to look. 

MW: Have you ever found anything good in a charity shop? 

JS: I’m a charity and junk shop fiend. I’ve found tons of stuff over the years. I worked in vintage clothing and second hand guitar shops for most of my adult life, which has sharpened my eye to spot the gems. 

There’s a couple of things that stand out for me though. I once bought an original, early 70s, Colorsound Jumbo Tonebender fuzz pedal for £30. I remember sitting in my car (a 1971 triumph herald) after I’d bought it, feeling like Indiana Jones holding the holy grail. 

A first pressing, with the vertigo swirl of Colosseum’s Valentine Suite for £3. That was another joyous find. 

There was also a time when I walked into a charity shop and there were three, three piece John Collier suits, including a purple penny collared one, that fit like they were tailored for me. 

MW: Is having a Mayor of Manchester worthwhile?  

JS: Right, politics. We as the band don’t tend to discuss politics but we have broached the subject on occasions and we all lean, some more than others to the left. I’ve talked with Andy Burnham and I truly believe he has good intentions. Manchester has returned to its place as a northern powerhouse, the public transportation system around the city is fantastic and the fact it’s not run for profit is something he has championed, that’s surely a positive. Mayor Burnham also understands the importance of music in the area, and though bureaucracy will inevitably stranglehold his vision, it’s at least reassuring that he wants to push and promote the arts.

MW: How would you fare as a contestant on Mastermind? University Challenge? 

JS: I've often pondered this question, ever since I read a hilarious book by Seb Hunter called Hell Bent For Leather. The book starts with the writer sat In a pub with his mates asking this very question and he goes on to admit his obsession with Heavy Metal. 

I’ve been on (and may I add won) a quiz show, so the general knowledge round I think I’d be able to get through. But here’s the thing and this goes back to the aforementioned book, do you go in guns blazing and start with your “strongest” specialist subject, thinking this might be your only chance or do you hold back in case you win and go through to the knockout stages?

How niche can you go? Musicians are all secretly nerds, so there would be quite a few things I could go into painstaking detail on, nothing I’d want to admit to and lose anymore of the small amount of credibility I’m holding onto. With that in mind, maybe I’d start with 70s Kalamazoo built Gibson guitars.

University Challenge on the other hand, I struggle to understand most of the questions, let alone answer them. On the odd occasion I do answer one correctly, I feel like a member of Mensa!

MW: Who would you like to see play the next Dr Who? James Bond and - more grounded in reality! be the next Prime Minister....and give your reasons. 

JS: Barring the Prime Minister element of the question, I find it funny how enthusiastically people argue over who should play these two fictional characters. I can’t speak for the other guys but, I’ve never watched Dr Who since the reboot. I’m into the Jon Pertwee to Tom Baker era but that’s probably due to the ascetic rather than the plot. The theme tune was a lot cooler then too! The Doctor is a two hearted, alien, that regenerates. It’s really doesn’t need to be taken so seriously. On the other hand, if it was Gary Oldman I’d definitely watch it.

Bond, well if we go from the Ian Fleming books, he’s never been played by anyone “correctly”. In the novels he’s Scottish/Swiss with blonde hair. So all bets are off. The thing is, 007 could become anything it wants to be, the name could be a code name, hence the plethora of different actors. In all honesty, I used to love the movies but watching them again they haven’t aged well. They’re either shockingly hammy, grotesquely chauvinistic or over the top, to the point even Battlestar Galactica would blush. If I had a gun to my head to give a name I’d probably go with Lady Gaga just to watch the absolute shitstorm that would create. 

Prime Minister. Well, anyone but the omnishambles that is the Tories is the obvious answer. Unfortunately, Starmer, in my opinion, is a Tory in a red tie. The Labour Party has reverted to the Blairite centre and has moved a million miles away from its roots. Personally, I’d rather it be Raynor as the leader but at this point I’d vote for Larry the Cat if it meant getting the Conservatives out. 

MW: What are The Dead Medicine Band's plans for Easter and beyond?

JS: So were the hardest working band in showbiz this year. We’ve got the double A side singles, 'Steady The Ship' and 'Only A Light Year Away', coming out, followed by the other five, culminating in the debut albums release at the end of the year.

We’re playing an endless stream of gigs including going on tour with Twink, of The Pink Faires AND The Pretty Things fame. We’re playing some festivals including Cosmic Vibrations in Sheffield, which will be an amazing event and we’ve started writing tracks that will go onto the next album, which all being well will come out next year. 

thedeadmedicineband | Twitter, Instagram, Facebook, TikTok | Linktree

© Mark Watkins / March 2024

[markwatkinsconsumerguide]

Consumer Guide / No.127 / Joe Williams of MODERN AGE BAND, with Mark Watkins.

MW: Tell me about the band - the name, the members, the sound you make...

JW:  MODERN AGE BAND consists of - Joe Williams (19) (me!) : vocals + guitar, Charlie Holden (18) : vocals + bass, Corey Pitt (18) : vocals + guitar and David Vine (17) : drums

We started back in 2019, with me, Charlie, David and Jamie Cartwright who is no longer in the band but has his own great solo project going on.  Corey joined at the beginning of 2022 after Jamie’s departure and that’s when we started taking on the clubs in Liverpool, playing sets of all of our own material, which compared to playing covers in pubs for a few years was a real joy for us. 

Now 2 years on we’ve got a loyal fan base starting to brew. 

The sound we make, to narrow it down, consists of some psychedelic rock, mixed with blues, Americana and Indie, just to name a few. We like to have a lot of different sounds with our songs as we think it’s important as a band to keep fresh ideas coming. For example, some songs that might inspire us to write a song could range from an old hidden folk gem that we’ve found on Spotify, to a hip hop track that has a cool bass line. That’s why it’s hard for us to put just one genre on our music because each song is it’s own vibe in a way.

MW: What do you currently like about "the modern age"?

JW: We’re big fans of the footy, me and David supporting Liverpool and Charlie supporting Everton, Corey doesn’t care much for the football. 

And of course we’re big fans of going to gigs, we’ve all got a few coming up this year, Corey and David are seeing King Gizzard in Liverpool in May and I’m seeing Paul Weller in July, just to name a couple.

MW: What are you reading, watching and listening to at the moment?

JW: At the moment I’m reading Robbie Robertson’s autobiography “Testimony”. It’s a really good insight into what it was like to go out on the road as a band non stop through the 50s, 60s and 70s. It’s a great read, some amazing stories - would definitely recommend it if you're a fan of The Band or just music in general. 

As for TV, I’ve just finished a series called “The Serpent” about serial killer Charles Sobhraj, which was a dark but interesting watch - would also recommend.

I’m currently listening to a lot of different music, but these are some I’ve had on repeat a lot lately:

Queens Of The Stone Age, The Verve, Paul McCartney & Wings, The Band and MF DOOM. 

MW: Have you ever found anything good in a charity shop? 

JW: The best thing I’ve found in a charity shop is an original 1976 pressing of “Wings Over America” for £2 in Ormskirk, I was made up. 

MW: Is having a Mayor of Liverpool worthwhile? How does your Mayor compare to the one in Manchester?

JW: To be completely honest, as we’re only young lads we don’t pay a huge amount of attention to what’s going on with mayors, however I still think that it’s definitely worthwhile to have someone in that role for the city to keep things in line. 

MW: Are you more CASH than CARD when paying for goods and services? 

JW: On the whole, I am definitely more card than cash. However, when going to a pub or restaurant I like to pay cash so I can tip the workers. But I do use card most of the time as it’s just a lot easier. 

MW: You can only choose one Easter Egg - what is it?!

JW: I’d 100% go with a Thornton’s egg, they just wipe every other brand out in my opinion. 

MW: What are Modern Age Band's plans for Easter and beyond?

JW: Over Easter and the next couple of months we’ve got plenty of gigs planned which we’re waiting to announce, and also another big announcement for a new single release soon. We’ve also got our biggest gig yet at the 02 Academy Liverpool, supporting our good pals Headfeeder and Firehead. 

We also intend on delivering much more music as the year goes on, we can’t wait to share what we’ve been perfecting for years with everyone! 

Modern Age (@modernageband_) • Instagram photos and videos

© Mark Watkins, March 2024 

[markwatkinsconsumerguide]

Consumer Guide / No.126 / MONDO TRASHO - a 5 piece psych, garage band hailing from Liverpool - with Mark Watkins.

MW: When did the band form and why the name MONDO TRASHO?

Jay Muat: We love obscure films and counterculture and weird things. Russ Meyer and John Waters were big influences when starting off. We got the name from John Waters, his first film from 1969. We were inspired by the Mondo movement of the 1960's. We wanted the word Mondo in the name of the band and so ended up with Mondo Trasho. 

Chris 'Moz' Green: I like to to say, although this is not a true translation, that the world is full of rubbish. Me and Jay got the band together years ago. Its been an ongoing project. Losing a few drummers along the way. I feel now being 5 piece and the way the band sounds / feels is what I've always wanted it to be.

Dan Myers: I joined about 2 years ago. I knew the guys were looking for a guitarist through my old band mate Jack Birch, from The Heavy North. I got to listen to a lot of live recordings and demos. 'Strangers' really stood out to me; it made me want to join the band. 

MW: What are the band's influences and describe your sound...

Chris 'Moz' Green: Inspired by the grandiose of 60's Scott Walker, the growl of like, The Doors, and weirdness of Frank Zappa, and The B52's, and the obscurity of the Flamin' Groovies. We started out being inspired by The Flat Duo Jets, The Cramps, The Doors and the sound has grown from there. We've added more of a garage punk sound and it has grown and evolved from there.

Jay Muat: I'm really into Love, old film soundtracks, Giallo (lounge type music), The La's,  Pale Fountains, Ennio Morricone. 

Dan Myers: I got into a lot of blues stuff when I was younger like Peter Green, and also early Black Keys, Queens of the Stone Age and Black Rebel Motorcycle Club too. Over time that's broadened into more cinematic stuff.  

MW:  Who does what in the band, and who supports Liverpool, Everton, maybe even Tranmere Rovers?!

Chris 'Moz' Green: I’m Chris 'Moz' Green I play Hammond organ & electric piano backing vocals sometimes play the Theremin. Not a football fan, I was raised a Liverpool Fan. 

Then you’ve got Jay Muat - vocals & guitar, but he’s not really into football at all. 

There's Dan Myers - guitar & backing vocals. He’s a Red. I reckon he cried when the news about Klopp broke but wouldn’t admit it to us haha. 

Luke Hamilton plays bass and does backing vocals. He's not really a football fan, says he's a blue nose (he goes the game). 

Finally, Greg Mitchell on drums. He is just a normal Everton fan.  

MW: What do you like best about Liverpool? The least? What do you think are some common misconceptions about its citizens and the city itself?

Chris 'Moz' Green: It's a weird place because it's in a constant flux. There's always new buildings or things shutting down (mainly good live music venues). You get used to places being there and one day it's gone ("There are places I remember"...as the Beatles song goes).

It is a music city. There's loads of bands doing different music, getting signed, doing tours and that. Not everyone is a Beatles mop top fanatic. It's a boss place. Some of the people are boss. Liverpool has become a city break / Hen and staff party and University city. Worst thing is football match traffic - the whole of north Liverpool goes nuts on match day.

MW: Top 5. What are your favourite surf records of all time?

Chris 'Moz' Green: Of course we all love: Link Wray, Dick Dale,The Lively Ones, The Centurions, The Jokers, Freckles, The B52's and The Del Roswells. Top 5 are hard, but;

5. Anything by the Razorbills. More people should listen to this band. They are just a great band. Everything they do sounds amazing to me. Wish I could see them live. 

4. The Impacts - 'Wipe Out'. Always sounds great, my go to for decent surf.

3. 'Unleashed' by The Eliminators. When I first heard the album I was like woah! how did I miss these from the 60's. Amazing instrumental surf boss horns. 

2. Guantanamo Baywatch albums are boss. Modern surf bands who are solid. We were lucky to play with Night Beats last year and he was touring with Chris Scott the drummer from GB - my jaw was on the floor watching him.  

1. 'Lolita Ya Ya' - The Ventures. I never get bored of this track, the harpsichord is boss. Fits into any playlists.

MW: Top 5. What are your favourite psych records of all time? 

Jay Muat: Honourable mentions: The Animals, (some) Pink Floyd, Grateful Dead, The Kinks, (loads of) Frank Zappa, 'Abbey Road' and more modern stuff like Triptides or Levitation Room. 

5. The Seeds / 13th Floor Elevators debut albums. Just  really good albums I remember finding both of these when I was 16 and thinking I'd unearthed rare gems.

4. Nuggets compilation - it's just boss. Got loads of amazing tracks on it from bands who deserved to be massive. 'Don't Look Back' by The Remains is such a good tune; it introduced us to so many great bands. When writing songs it's always worth at looking for references. 

3. Love's 'Forever Changes' (1967) - just perfect. 

2. The Doors' first 3 albums taught us so much. When we first started we didn't have a bass player and 'Moz' just played bass on the Hammond. It's the blueprint for us. 

1. 'Freak Out' by The Mothers of Invention (1966). I know it is a parody by Frank Zappa of the bands of the time, but it's the best. It's an album that has everything. It stays with you after the first time you hear it. Goes from absolute scary freak outs to Blues Psych. 'Help I'm A Rock' is an go to always. Love putting that on when with unsuspecting company...

MW: What did you think of the recent Brit Awards?

Chris 'Moz' Green: I didn't really watch it. You knew that Raye was going to win loads which is boss for her. But award shows are just the big music labels just pushing shoehorning their artist in. It's just a big advert now. It's too big, too monoculture for me. It's not what it used to be: I mean seeing Jarvis with Michael Jackson. That would never happen again, everyone is too well behaved at the award shows. 

Dan Myers: I didn't even know it was on, in all honesty.

MW: Do any of you enjoy playing darts and, if so, to what degree / ability?!

Chris 'Moz' Green: Me and Luke are darts players. Luke is the better player, but I played a lot when I was a teenager, having a dart board in the house. Playing round the clock for years getting ready for the pub tournaments.  

We played a lot when we used to work with each other. We worked with a fella who made his own darts out of m10 bolts and nuts, because modern darts were too light for him. It was funny to watch until he wrecked every dart board he used, and we got kicked out of pubs.  

Luke's really good under pressure. I'm better after 4 pints. 

MW:  Who usually gets the beers in and what tend to be your tipples?

Dan Myers: We're pretty good at getting round in. Think it's Greg's next!

Chris 'Moz' Green: Dan's a Guinness drinker. Luke likes a heavy stout, Jays drinks cider, Greggs into Lager and 'Moz' is into red ale and Belgian bevys.

MW: What are MONDO TRASHO's plans for the rest of 2024?

Chris 'Moz' Green: We have a lot of tracks recorded that need mixing. We were very lucky to get sessions in the George Martin studio at LIPA with our mate Jamie Lindberg. It was a good experience but because life gets in the way its taken a long time to get each song ready. 

Jay Muat: Release more songs, reach more people.

Mondo Trasho | Twitter, Instagram | Linktree

(c) Mark Watkins / March 2024.