Portsmouth Music Scene


The Portsmouth Music Scene

Heaven, ---- The first group


Heaven B'mth

Heaven at Bournemouth Pavilion, Ray King on Clarinet, Andy Scarisbrick on Guitar, Mick Cooper almost hidden


Heavensplit

Heaven at Bournemouth Pavilion, Brian in the foreground, Nobby drumming and Dave sitting at the back


Heavensplit

Heaven on stage at Bournemouth Pavilion, l to r;- Mick, Ray, Nobby, Andy, Brian, Ollie, but Dave is hidden from view.


Heaven Southern Music

Heaven outside Southern Music, Denmark Street, London. Spark recording studio was in the basement.


Heaven

Heaven, by the Hot Walls, Portsea,
left to right Mick, Brian, Nobby, Ray, Dave, Andy, Ollie


Heaven cutting

Heaven, from the NEWS

HEAVEN 1

Recordings made;-
1 Bastard Child, written by Brian Kemp.
2 You will be free, written by Brian Kemp.
3 Our Plan for You, written by Andy Scarisbrick.
4 The Day that Judy came to stay. writer unknown.
This song was given to us by the record company and it was suggested that it could be our "Hit Single"???
5 The Gardener, written by Brian Kemp.
6 Wear your love like Heaven, written by Donovan Leech.
7 The Invisible City of Kartesh,
written by Brian Kemp and David Gautrey.
8 Old Mad Walter, written by Brian Kemp
9 White Dove, written by Andy Scarisbrick.
10 White Dove, written by Andy Scarisbrick. Sung by Andy
All vocals are by Brian Kemp unless otherwise stated.
************************************
The Heaven Lyrics
Some of the word may not be acurate!
*************************************
Invisible City of Kartesh, written by Brian Kemp and David Gautrey
I come from the invisible city of Kartesh
If you close your mind to all around you
You can see it shining in the dead dark blue.
my goddess from heavens above me
It is a land full of love for free
where you may find times of infinity
She moves through time an endless stream
through time path in at but a dream
but she is there for all to see
the face a time for tranquillity.
Through time and space I have searched for her
but her name far I cannot see from whence she came or to where she goes
should I find her starlit trial
I'll follow it, until I find her
I'll set her free from her endless travels
to live in harmony beside me, oh
*************************************
Bastard Child, written by Brian Kemp.
Evil hearted bastard child
you tread your chartered course
but all I hear is apathy
Without ten sovereign more
your shapeless smile has warped your mind
a beggar’s lust for gain
but existing without out living child
you'll never be the same
you got to believe what I say
this living with you, part of my life is so great
if you can be like this all the time
I would like to thank you now for choosing my fate
solo
Your eyes are open now
through bitterness and pain
you're not afraid to purpose now
it's hard for you today
foul words of insincerity
just roll with every breath
there's nothing left for you now
but the sweet event of death
you got to believe what I say
this living with you, part of my life is so great
if you can be like this all the time
I would like to thank you now for choosing my fate
*************************************
Old Mad Walter, written by Brian Kemp.
He looks from his lonely little room
sun shines in and brightens up the gloom
little girls all point and call him names
how he wishes he could join their game
Old mad Walter's coming out to play
always treads the gutters every day
curses everybody all around
turns away and spits upon the ground.
*************************************
The Gardner, written by Brian Kemp.
Mistress Matilda, I got a job on your father's land
happy to be here, one step closer to your tender hand,
I'm only a gardener, could it be harder
to reach your pedestal high
I've got his garden, I'll have his daughter but I think he knows
He fears his gardener, his dirty green fingers on his daughter's clothes,
Mistress Matilda, come to my greenhouse, I've got a lot of things I want to show you,
He needs my talents, his fat business fingers won't bring nature forth
come to my kingdom, behind the hedgerows where we can't be caught
Mistress Matilda, come to my green house, I've got a lot of things I want to show you.
*************************************
Wear your love like heaven written by Donovan
Colour and sky brush and blue
Scarlet fleece changes you
Crimson ball sinks from view
Wear your love like heaven Wear your love like heaven Wear your love like heaven
Lord kiss me once more
Fill me with song
Kiss me once more
So I may, so I may
Wear my love like heaven Wear my love like heaven Wear my love like heaven
Colour sky heaven alic
Colour sky rose carithe
Arisari and crimson
Wear my love like heaven Wear my love like heaven Wear my love like heaven
Lord kiss me once more
Fill me with song
Kiss me once more
So I may, so I may
Wear my love like heaven Wear my love like heaven Wear my love like heaven
Cannot believe what I see
All I have wished for will be
All of our race proud and free
Wear my love like heaven Wear my love like heaven Wear my love like heaven
Lord kiss me once more
Fill me with song
Kiss me once more
So I may, so I may
Wear my love like heaven Wear my love like heaven Wear my love like heaven
*************************************
White dove, written by Andy Scarisbrick.
Shadows climb the trees to cool the ground beneath their feet.
shifting patterns mottling the branches in the heat
painted wings and crawling things that glide and creep
hazy cats nocturnal bats un hurried sleep
wind that gently blows the grass into a swirling sea
clouds that drift above majestic galleons sailing free
quiet streams with sun light beams reflecting down
water running silver fish turned green and brown
and if she is near me a white dove for my love
as a wings of silver threads and gold
we will fly above the sea and never touch the land
clouds will turn to bow to her and swoop to kiss her hand
I will follow guided by her shining light
through the darkness burning day and silver night
and if she is near me a white dove for my love
as a wings of silver threads and gold
*************************************
You will be free written by Brian Kemp.
Love is a vision, mystic surround
lives that were darkened when you have found
eternal life is free, a life yet born to live
Maybe if you try you would be free
how we know what drags you to insanity
when the darkness that is you is a vision of light
the prospect of Matthew will see under light
things that come your way
see what you have done
without fear of doubt my friends
you're the only one.
it just finds you mocking your lines
wake yourself look around and you will see
now you will be free
so my friends in space I'm turning
till your life is seen
and the time to make yourself
while others try to dream
it just finds you mocking your lines
wake yourself look around and you will see
now you will be free
*************************************
Our plan for you, written by Andy Scarisbrick.
Listen to us‘cause we are of your invention
watch for a change in the things that you do
for we have watched as you created darkness
and becomes lost in the sky that is grey
you should be nearing sounds that fill your life
running to hills trying to find
but you just talk about yourself and what you do,
and all the people that are coming down on you,
you just fill your head with what's all been said.
just stand on your head looking with both eyes open
digesting our words which you catch with your hand
trying to grudge at a small well said meaning
you don't understand
you should be hearing sounds that fill your mind
running to fields trying to find
but you just talk about yourself and what you do,
and all the people that are coming down on you,
you just fill your head with what's all been said.
*************************************
The day that Judy came to stay, writer unknown
Let me tell you ‘bout the day that Judy came to stay,
twas one of those funny days I can't remember which right away
she drove her car in my garage then brought her cases in
I noticed that she'd lost some weight her face was rather thin,
It was the day that Judy came to stay
It was the day that Judy came to stay
I showed her to her room and then I put the fire on
she put her make-up on looked to see if I had gone
we went down stairs to have a drink just so we'd break the ice
we talked about philosophy, foot and mouth and mice
It was the day that Judy came to stay
It was the day that Judy came to stay
She told me that she’d move to town and was looking for a flat
she asked me if she could stay I said that I'd like that
she's been here ever since that day since that day she came
she's been with me in my house it'll never be the same.
It was the day that Judy came to stay
It was the day that Judy came to stay
***********************************
The members of the 'first' Heaven were,
Andy Scarisbrick, guitar and vocals. Ray King, Saxophones/penny whistle.
Dave Gautrey, trumpet/flugelhorn.
Ray "Ollie" Holloway, Saxophone/flute. Nobby Glover, drums.
Mick Cooper, piano/organ.
Brian Kemp, bass guitar and guitar and banjo and vocals.
The recordings were made during
1969/70 at Southern Music's Spark Records Studios in Denmark Street London. Produced by Barry Kingston and engineered by Paul. The original Heaven were formed in 1968 out of a soul band called The Universal Trash Band, managed by Vic Brown, An agency called MMF, which stood for Matthews Martin and Ford, took over as management, and Ricky Martin was responsible for Heaven.
First gig on 7th September 1968 was at Thorngate Hall Gosport???
Voted the second best group in Portsmouth for the year 1968 on 16th January1969 by the Portsmouth News readers. After the gig at Bishop Otter on Feb 1st 1969, Heaven, and Ricky, realised which direction they were going, the audience lapped it up! After a recording session in London, the old Southern Electricity Board van they used, shed a wheel quite near to Guildford on the A3, but the bodywork kept the wheel on the axle. They had to walk several miles at about 3am to Godalming Station, and were buzzed by a police car, had wait at the station for the early morning milk train to Portsmouth. Later they bought a new van. November 1969 Andy in hospital for an operation.
After the gig on 23 Nov 1969 at Penzance they had to motor to Harwich to get a boat to Holland for the appearance in Amsterdam. On the journey across England, in the middle of the night, they stopped and a policeman stuck his head in the van to check who we were. What he saw was several sleeping bodies. All he said was "keep smokin the pot" and then he disappeared. Another place they played at was in Scarborough, at the Penthouse where the audience sat on cushions on the floor, but the exact date is unknown. Also Several visits to the Tricorn Portsmouth, and the Kingston Hotel, Kingston Surrey. Voted the top group of the year 1969 on 22nd January1970 by the Portsmouth News readers.
One of the highlights was to appear on the 1970 Isle of Wight Festival with many well known bands and in particular, Bob Dylan. In actual fact, the Festivival lasted for three day, Heaven were the second band on the first day. On other occasions they supported bands like Jethro Tull, Deep Purple, The Idle Race, Juicy Lucy, the Incredible Sting Band. Heaven then split, with three of the originals retaining the name, joining with others, they later had a single and an album released on CBS Records.

THE GIGS

September 1968

6 Dorchester Streering Wheel
11 Beat Cruise from Portsmouth
13 La Babalu Ryde Airport
14 Weymouth
22 Parlour Portsmouth with Skip Bifferty
27 Newbury
28 Midhurst

October 1968

18 St Nicholas' Youth Club Battenburg Ave Portsmouth.
26 Paradise found dance at Kimbells Osborn Road Southsea.

November 1968

1 Locksheath
2 Hastings
5 Southampton College of Tech
8 La Babalu Ryde Airport
9 Lymington
10 Mecca Southampton
14 Bournemouth College of Tech
16 Dorchester
19 Blaises Club London
22 Manor Court Drayton
23 Southampton University
24 Parlour Portsmouth
30 Devizes Corn Exchange with Status Quo.
It was the week that their "Pictures of Matchstick men" topped the charts.

December 1968

3 Kimbells Portsmouth
6 Brune Park School Gosport
9 Clarence Pier Southsea
13 College of Art Portsmouth
14 Weymouth Steering Wheel
18 South Parade Pier with T Rex and the Idle Race.
19 Gosport RNAD Club
20 Chichester Girls School
21 Chichester College of Ed
23 Bognor '39 Club'
24 Bournemouth Pavilion
28 ABC Guildford
30 Kimbells, Southsea
31 Gloucester

January 1969

10 La Babalu Ryde Airport
11 Glastonbury(not the festival)
14 recording
17 Cheltenham
18 Dorchester
22 Bournemouth
25 College of Tech Portsmouth
28 Main Hall Park Portsmouth for the sudents
29 Avon Rubber Sports Club Melksham Near Devizes
31 Bordon

February 1969

1 Bishop Otter College Chichester
5 St Margarets Youth Club Portsmouth. with Rosemary
6 Clarence Pier for the College of Education. with The Fortunes.
7 Brighton College of Tech
8 Reading University with Juicy Lucy and Deep Purple(not sure of when we did this, see 10/1/1970)
10/11 recording (stay at the YMCA Tottenham Court Road.)
14 Newbury
15 Southampton University with Amen Corner.
16 Bournemouth Pavilion
21 Manor Court School Portsmouth
22 Portsmouth College of Tech
23 Stacey Club
25 Portsmouth Students week social
26 Keynes College Bristol with East of Eden
28 Fernhurst.

March 1969
5 Sussex University

8 Weymouth Steering Wheel
9 Bournemouth Pavilion
14 Salisbury College of Education
15 Reading 'Thingamegig'
17/18 recording
21 Brune Park School Gosport
22 Havant for Ports College of Ed
23 Dorchester Steering Wheel
29 Lymington Chords Club

April 1969

1 Portchester Youth Club White Hart Lane
2 Eastney Modern Boys School Portsmouth
3 Southampton Civic Centre Guildhall with the Move
5 Dorchester Steering Wheel Club
12 Portchester Community Centre
13 Bouremouth Pavilion
16/17 recording
18 Portsmouth College of Tech K Block
25 King Edward School Hill Lane
26 Brighton College of Tech

May 1969

2 The Parlour Portsmouth
5 The Granary Bristol
9 La Babalu Ryde Airport.
16 Southleigh Holiday Camp Hayling Island
17 Kimbells Portsmouth with the group called Rosemary
18 Bouremouth Pavillion
23 Brighton College of Tech
24 Fareham Youth Centre
25 Kimbells Postponed.
30 Portchester
31 Hastings Cobweb

June 1969

6 Van Dyke Club, Plymouth with Jethro Tull
13 Sussex University with Juniors Eyes and Free
Manager Ricky Martin played cards with Paul Kossoff of Free as Heaven played the first set.
14 Kimbells
21 Revolution Club London

July 1969

4 Portsmouth Manor Court
5/6 Dorchester Steering Wheel
7 Bristol The Granary with Deep Blues Band
8 Pavillion Bournemouth
11 Salisbury College
13 Bournemouth
14/15/16 Recording
18 Southampton Top Rank
20 Maidstone
21-25 Bournemouth Ritz.
Some of us had actually booked into hotels for the stay,
but after the first night it was obvious they didn't want a 'progresive' band.
We only played one night.
26 Lyme Regis

August 1969

2 Blaises Club London
16 Van Dyke Club, Plymouth
27 Sandpiper Club Westward Ho Devon
28 Penzance Winter Gardens
29 -IOW Festival with The Nice

September 1969

3 Beat Cruise from Portsmouth Harbour
6 /7 Dorchester
12 Chichester College of Ed
13 Gloucester YMCA
14 Ringwood
16 Whiskey A GoGo, London
19 La Babalu Ryde Airport
26 Van Dyke Plymouth
27 Haywards Heath(America lands on the moon)

October 1969

3 Portsmouth
4 Bath
6 Portsmouth
11/12 Weymouth
19 Bournemouth
25 IOW/Portchester
31 Bridgemary

November 1969

11 Van Dyke Club, Plymouth
dome
19 Dome Brighton with Edgar Broughton and David Bowie
21 Bristol
23 Penzance???
24 Theatre Carre Amsterdam Holland
29 Weymouth Pavillion
?? Brighton College of Tech

December 1969

9 South Parade Pier Southsea
12 Brighton
29 The Granery Bristol
Christmas Eve 1969 at “The First Steps" Christchurch Hall, Gosport with Rosemary
1969gosport Heaven

Jan 1970

10 Reading University with Juicy Lucy and Deep Purple

Feb 1970

5 St David's Hall Cardiff with Pink Floyd and Daddy Long Legs, for the local students.
6 Southampton Students Charity with Bonzo Dog, Hardin & York and Gary Farr.

13 Devizes Corn Exchange with Edgar Broughton Band
23 Granary Bristol?



The new Heaven, now managed by Rikki Farr, played on 14/4/70 at The Lord Mayor's Pop Bonanza at the Mecca Arundle Street Portsmouth.
With the change of personal the music changed from a blend of electric/brass/folk music with Brian at the hub of creativity, to something in the direction of brass rock groups like Chicago.

WHERE ARE THEY NOW?? Dave, now married to a German wife has two sons. was working for Rikki Farr, in Los Angelos, USA. Ray is living and working near Munich, Germany. Andy died in Islington, London. 'Ollie" was a draughtsman and was in Gosport, but last heard of in Thailand. Mick is now a retired photographer and musician and still in Paulsgrove. Nobby is retired and living at Locksheath. Manager Ricky Martin, returned to the UK in 2011 from some years in Thailand

THE END,
On Friday 25th September 1992 Brian Kemp died at Queen Alexandra Hospital Cosham, after being involved in a road accident. It was decided to stage a memorial benefit concert at the Gaiety Bar on South Parade Pier, Southsea, on 25th November 1992. Most of Brian's groups were represented, including Five by Five, Jet, Mark Andrews and the Gents. Blues Brokers, Where eagles dare, Dallas. The four remaining members of Heaven still in this country, Ray Holloway, Andy Scarisbrick, Nobby Glover and Mick Cooper, and one of the second Heaven, Derek Sommerville, reformed to appear on stage and amalgamate with the Tony Laine Group, the band that Nobby was currently playing with. Ricky Martin was also present. The original Heaven songs, written by Brian had complicated arrangements and as rehersal time was limited it was decided to play a few Classic songs known to all. They were Wilson Pickett's In the midnight Hour, Elvis Presley's A mess of the Blues, Dion's The Wanderer and Status Quo's Rockin all over the world, and Good old Rock'n'roll. This was the first stage appearance of the original Heaven since 23rd February 1970. Approximately £3000 was raised and a machine bought for the I C unit and dedicated to Brian's memory.
Brian's father Len attended the concert which was organised by Barry Sutton, Mick King and Mick Thompson.


The songs the original HEAVEN played???
Marjorine a Joe Cocker B side
The world's on Fire by Strawberry Alam Clock.
If only the people would be the times or between Clark and Hilldale, by Love.
(that is the correct title!)
Fresh Garbage by Spirit
Killing floor by Electric flag
Smokey blues away by A New Generation.
Evil woman by Spooky tooth/Canned heat.
Wear your love like Heaven by Donovan


heaven1x

Heaven, loading the van. It was an old Southern Electricty Board green van.


heaven2x

Heaven inside the van, Ollie in his fur coat next to Andy, with Brian on the matress on top of the equipment.


heaven3

Heaven at the Great Hall, for Portsmouth College of Technology, but was it played at Havant?


heaven4x

Heaven in an unknown publication

heaven22

Heaven looking up!


heaven5x

Heaven sat on Hayling beach, this show the new 'truck' which had six aeroplane seats in the front partitioned setion of the body


heaven6
vandikeaug69

Heaven at the Van Dyke, Plymouth


heaven7

I was given a reel tape of one of the songs recorded in London and I sent it to Eden for them to make an acetate and they sent me this letter.


heaven8

February 8th 1969 at Reading University.


heaven11 ann 1x ann 2x

A letter from the 'Management', Ann Luckett


pier pier pier

On South Parade Pier.


heaven12

Heaven publicity material


iow1969

The 1969 IOW Festival Back Stage pass


Heaven-iow

From the NEWS, the aftermath photo, Heaven at bottom left!


Heavensplit

Heaven split revealed in the NEWS


Heaven, ---- The second group

Heavenlp

Heaven Brass Rock

Track Listings
1. Things I Should Have Been
2. This Time Tomorrow
3. Never Say Die
4. Come Back
5. Song For Chaos
6. Morning Coffee (A Theme From A Film)
7. Number One (Last Request)
8. Number Two (Down At The Mission)
9. Dawning
10. Got To Get Away
Hangin' on - single release
Funny Lines - single release

CLASSIC PROGRESSIVE JAZZ ROCK ALBUM REISSUED ON CD OFFICIALLY FOR THE FIRST TIME - FROM THE ORIGINAL MASTER TAPES
* Heaven, a jazz rock group from Portsmouth, burst forth onto the British rock scene in 1970 when they appeared at the legendary Isle of Wight festival sharing a bill with The Who, The Doors, Jimi Hendrix et al. Making a stunning debut, the band (now managed by festival organiser Rikki Farr), soon secured a recording deal with CBS Records who signed the band for a large advance. The resulting double album "Brass Rock 1" appeared in 1971, adorned in a lavish fold-out sleeve. Well received critically, the album failed to achieve the expected success and Heaven soon disbanded, leaving behind a fine example of classic jazz rock. Officially released on CD for the first time, this Esoteric Recordings reissue is digitally remastered from the original master tapes and restores the artwork of the album in full.

Heaven: Brass Rock 1 ECLEC 2030
HEAVEN – Brass Rock 1 (2*LP, CBS, UK, 1971, FO!) A rare UK original. This is the most redicilous, beautiful, extravaganze sleeve ever produced. It folds out like a giant cross! Getting very rare now. English band, and don’t let the tittle scare you. This is heavy progressive with superb and great brass. But most of all, some fantastic vocal and guitarparts! Sometimes a bit like Frank Zappa. Strong melodies and great arrangements. This is bound for bid sections before you know. The sleeve is often very torn, this is not, some, slight general wear, a small tear on rear, but definitly a keeper copy.

A nine man band with a five man horn section comprising everything from trombone to clarinet and flutes, two guitarists who where also the alternating lead singers (one harsh the other softer), a very dynamic drummer and a competent bass player; no keyboards except some acoustic piano on a couple of a tracks; all this translates in a muscular sound, often reminding B.S&T or Chicago not only because of the brass arrangements (which also have a soundtrack quality sometimes), but also on the vocals (an (even) more powerful David Clayton Thomas) or the guitar sound and style that sometimes reminds Terry Kath’s. But some amateurism is felt on some of the horn players, which are not so skilled as those in the aforementioned bands and that at times seem to struggle to get a fluid sound on the complex arrangements; the song writing is rich and diversified.
The album starts with a Riff based Rock Blues, powered by a raucous double guitar attack and harsh vocals, with a swinging jazzy brass arranged middle part, and some adventurous wah filtered guitar;
“This Time Tomorrow” is an instrumental track with a 6/8 Spanish feel, a softer acoustic guitar and flutes part, and a faster one with double e-guitar leads and nice horns harmonizing.
Back to up tempo, this time with a Country feel and very Chicago-ish horns is “Never Say Die” whereas “Come Back” has a 60’s feel, soft voice and pop flavoured vocal line often broken by hi-speed drum fills, guitar, brass and flute urgent grooves and even a distorted guitar solo – somewhat surprising…
Things get more proggy with “Song for Chaos” that starts with a mid tempo pumping bass driven 60’s vocal feel, changes to harsh vocals over a driving jazz rock pattern, a quiet brass interlude, a ethnic hand clapped part, swinging brass arrangements with guitar solo on top, a calm Spanish trumpet part over piano backing, and then a rolling distant bass lays the basis for a raunchy guitar lead as the intro part resumes.
“Morning Coffee” is another instrumental with quiet flutes arrangements enriched by some brass over clear guitar chords; a nice octaves jazzy guitar solo graces the middle part.
With “Number One” things get back to Jazz Rock with blistering guitar riffs, harsh vocals and blaring horns ,the some being true for “Number Two” which has a more swinging vibe (more B.S.&T sounding too).
“Dawning” that opens with sea and seagulls sounds has Yes like vocals over gentle double acoustic guitars arpeggios, piano backing and soaring flute lines; the sea sounds make the transition to “Got to Get Away” which starts with a melancholic bass fiddle soon joined by flugelhorn and clarinet; a bubbling bass introduces a vocal line on top gentle strummed e-guitar and staccato horns; it builds up with backing vocals and more horn arrangements; the drum enters to support a nice eastern sounding sax; Latin percussions and slide guitar chords and solos speed things up; the song climaxes with the two guitars trading solos and blaring horns as the vocals theme is reintroduced.
At almost 60 minutes (I doubt it all fitted in a single LP, but no where in the CD issue is a mention to Bonus tracks – unless this was a double…) this is a nice showcase of possible alternative paths for Brass Rock Jazz fans.
Heavenlp

TERRY SCOTT was born in southampton england in 1949, his father bought & taught him guitar at a very early age, at 21 years old his band HEAVEN( he was the lead singer) played at the isle of wight festival,(1970) alongside artists, Jimmy Hendricks, Leonard Cohen, Jethro Tull, the Who, Led Zeppelin, and many others,, 1971 his first double album with CBS was released (HEAVEN BRASS ROCK). Later that year he formed a new HEAVEN with MICKY FINN, (Heaven 3), touring europe with THE JEFF BECK GROUP, Finishing up in Paris, Terry signed a new contract as a solo artist, with CBS france & MICKY(after recording with french artist, NINO FERRER) asked GARY HOLTON to replace Terry, changing there name to THE HEAVY METAL KIDS Terry's firs single was A BETTER WORLD, co-written with WILLIAM SHELLER,(1973), various albums were to follow, SPAMMBAND with RHINO, from STATUS QUOI on bass, & NINO FERRER (executive producer) SURVIVOR( terry's solo album) No 1 in Monte Carlo & chart success in Italy Canada, Brazil & of course, France, In 1982 Terry & Micky joined forces and released SCOTT ON THE ROCKS, using THE JAQUES HIGGELIN BAND as musicians, T,V shows were to follow with various artists, & then in 2000 recorded a 3 track CD ( BRUCE FROM LIVERPOOL, NOTHING AT LL & POOR ME ) Nowadays Terry can be seen touring france with his trio, mostly in his region of Normandy.

Lead guitar Eddie Harnett was also in the Unforgiven band as listed on my biography page, and another very talented singer, guitarist and songwriter as well as a good pal over the last 40 years. He later joined Heaven - a highly respected progressive rock band featuring brass (see below) before emigrating to the USA where he still lives and plays.

Heaven/Brass Rock 1 LP cover
This band were involved with local promoter Gary Farr and played the Isle of Wight Festival in 1970. Influenced by Blood Sweat and Tears/Chicago style and were a very respected group that should have gone onto bigger things. Eddie Harnett also co-wrote many of the tracks.
HEAVEN part of the Heet website
Heaven also appeared on the last edition of the TV program "Diso Two" on July 8th 1971, which was a foreerunner of The Old Grey Whistle Test.


briankemp

Here's a rare shot of a young Brian Kemp, with his familar 'Beatle' Hofner bass guitar, and singing into a Reslo Miscrophone,
so the date it to about 1963/4? and in an unknown group


Heavenly Memories


I've attached a short history of Heaven 2, written from my perspective. It's not really an attempt to set the record straight in any way, although other members might find it interesting to read my thoughts on how and why things happened the way they did. It's really only me getting it straight in my mind. I hope you find it interesting. Please feel free to ask any questions.
John
Trouble In Heaven
This is the story of the second incarnation of the band Heaven, or ‘Heaven 2’. I have to make some things clear; all this is from my perspective, and others might view events differently, or even have a different recollection – it was forty-odd years ago; this is not an exercise in blame, at least, not as far as others are concerned – I’m aware that I could have been less cowardly at times; a lot of the opinions I voice here, I kept to myself at the time, and that was probably because I was thinking of my position; there were no arguments or recriminations, and people behaved with dignity, even when the way they had been treated might have justified a bit of shouting; finally, it’s a bit like having car trouble – you focus on the faulty parts and not the parts that work fine. There were a lot of good times, and I wouldn’t have missed it for the world.

*******

Along with Barry Paul, Terry Scott and Ken Durow, I was in a band called Paper, working through Ann Luckett at M.M.F. agency, where Ricky Martin managed Heaven. Barry and I lived in Chichester, Terry lived in Southampton, and Kenny lived in Havant. We were like thousands of other little bands; gigging around Hampshire and Sussex and hoping to get the chance to play ‘Born To Be Wild’ live on Radio 1 Club. Heaven were the top dogs, and with good reason. They wrote their own songs, played them well, and had their sound sorted, always balanced and listenable, and they were nice guys – self effacing and, it appeared, united in their musical goals. On top of that, they were recording an album.

So it came as a bit of a surprise when the agency told us that Ray King, Dave Gautrey and Nobby Clarke were going to split from the band, and were interested in forming a new Heaven with Barry, Terry and me. They felt they were under utilised in the current set up, and wanted to stretch out more, and they had the support of Ricky Martin. I wondered why the management were going with Ray, Dave and Nobby, and why the name ‘Heaven’ was migrating with them rather than staying with the songwriters – Brian and Andy, but the trend then was to prioritise virtuoso musicianship over song writing, despite the charts being filled with great pop songs.

We had a meeting in a pub in Chichester, and the deal was done, with little thought for those who would lose out; Kenny, Paper’s drummer; Annie, Paper’s manager; Barry Edney, Paper’s roadie (none of us could drive) and the other members of Heaven. We got together for a play in the cellar below Barry Paul’s parents’ shoe repair shop, and we were off.

We had a band, but we didn’t have any songs. Ray introduced us to Frank Zappa’s ‘Hot Rats’, and we jammed on ‘Willie The Pimp’, which became a standard for us, and we knocked some riffs and lyrics into songs, but song writing was the weak spot. Our first gig was at a charity show in Portsmouth, something to do with the Lord Mayor. I can only remember that we were under rehearsed, that the material felt thin, and that I was overplaying like mad to try and compensate – it doesn’t work now, and it didn’t then. I came away worried about where new songs would come from, but it was soon resolved. I got to Barry’s cellar early, for a rehearsal, and he told me that he didn’t like the band and that he was quitting.

It wasn’t a long discussion. I could see his point – I had similar misgivings. But he was the local hero guitarist, and a damn fine one, and there was no doubt that he would progress in the business, whatever the route. I didn’t have that confidence in my own abilities, so I was sticking with whatever prospects Heaven might offer. I wanted to get out of Chichester. I wanted to go to London and play in a band.

It’s hard now to convey what ‘London’ meant in the music world then. London had venues and record companies and studios and publishers and big-time agents. London was where A & R people could see you and sign you up – they weren’t going to travel to Southsea or Dorchester. London was the hub of the music business, in a way that is difficult to comprehend in the era of internet, mobile phones, social media, Youtube and, believe it or not, better road links.

Terry got in touch with Eddie Harnett, who had worked with the Mojos and other Southampton bands, and he joined the same day that Barry left, bringing with him the song writing that the band had so far lacked.

Then it was out on the road, gigging round the country in our truck, a diesel with separate cab and body. We took it in turns - except for Dave Gautrey, who drove – riding either in the relative comfort of the cab, or in the back with the gear. Admittedly, the gear was behind a bulkhead, and we had rows of aircraft seats, but the only windows were forward facing and so high up that the only way you could see out was by balancing on one leg on the worse than useless heater and craning your neck to get a view of where you were going. We froze in winter and roasted in summer. The engine was governed to 45 mph and a gig in Penzance meant leaving Portsmouth before daybreak and getting to the venue with just time to set up.

Terry Scott would always be described as ‘gravel voiced’, and I marvel that I can’t remember him having a sore throat, or worse, considering the abuse heaped on his larynx. He was a consummate ‘front man’; when he sang, you watched and listened.

Ray King was a self taught reeds player – all sorts of saxophones, clarinet, oboe, bassoon, flute – and his tenor solos had a unique quality that hinted at jazz, blues, folk and shades of the original Heaven.

Dave Gautrey played trumpet and flugelhorn, drove the truck and looked after the PA. He didn’t waste words but, as you can imagine with someone who habitually wore Scholl sandals and socks, he was his own man, and when did speak, we listened.

Eddie Harnett – trim, big moustache, always smiling – played guitar, sang a high harmony (and some lead) and wrote a fair few songs, always melodic, and usually demo-ed on his reel to reel tape recorder. He had been reunited with his father soon after joining the band, and moved into his dad’s house in Southampton. We were gigging at a London club when the police arrived to break the tragic news that Eddie’s dad had died in a tragic accident at work. Later, we spent many days and nights jamming, rehearsing and writing at what was now Eddie’s house.

(Malcolm) Nobby Clarke was not your average band drummer. His kit had more of a jazz tuning, and his technique was jazz chops with rock power. He was quick on the uptake and musical, and I can still picture the way his eyes locked onto the ride cymbal as he played a neat swing groove.

After signing the record contract and before starting the album, Derek Somerville joined us, on tenor, to fill out the horn section. Derek was younger than the rest of us, and quite shy, for which he got mercilessly ragged. His arrival was significant; we had not started out as a Blood, Sweat and Tears / Chicago – type band. As mentioned, Zappa’s ‘Hot Rats’ was a big influence, and if we thought about it at all, we would probably have put ourselves in the same category as Jon Hiseman’s Coliseum, rather than the brass rock bands. Now, we had a horn section, and Rikki Farr’s influence was taking hold, of which, more later.

All of them were good natured, funny, upbeat, and good companions on the road. We experimented with instrumentation – at one time, I was playing flute, fiddle and bass, though not all at the same time - and, at that stage, the wind instruments sounded integral to the songs – rather like the original Heaven. Dave was expert at running the WEM PA, and we gradually got played in and comfortable with each other. But there was a problem. London was calling.

Ricky Martin and the agency were doing their best for us, but the country was filled to overflowing with bands trying to ‘make it’, and if we were going to ‘make it’ we would need a finger on the scales. Eventually, Ray suggested that we contact Rikki Farr and ask him to help us. We met him at his boutique – I think it was in the Tricorn – and he readily agreed to get involved, phoning Dave Margereson at CBS records as we sat there. A cynic might conclude that, since his boutique was about to go out of business, there was a certain attraction in taking on a band and procuring some record company funding, but, to be fair, he had the contacts and the chutzpah, and that’s why we approached him. Soon after, we took a ferry to the Isle of Wight, to the house where Rikki and the Foulkes were organising the 1970 festival, and there we signed with Rikki Farr. There’s a photo on the web, taken outside the house, and you might be forgiven for thinking that we were at a wake. Ricky Martin was with us, and, on the ferry back, he told us that it would only be a matter of time before he was out on his ear. We protested that we wouldn’t let that happen, but it did. Another friend overboard.

Rikki Farr put us on the festival, on the Sunday afternoon, in the midst of the cream of British bands – Tull, Ten Years After, The Moody Blues, Free – all match fit and at their peak from touring the USA. Hendrix was top of the bill. We had a police escort from the ferry, and, after playing, we stayed until halfway through Hendrix’s set, then dashed for the ferry. A week later, we were in Paris for a short residency at a club, then back to a record contract with CBS records. I seem to recall that they advanced £36,000. Rikki moved into a plush town house in Mayfair with two staff, and we moved into a very different town house in Putney, with dormitory like sleeping arrangements and two Scouse labourers living in the garage.

The record company advance was haemorrhaging cash; the band were on £25 a week each; rent was being paid on houses in Mayfair and Putney. We had new instruments and amplifiers – trading in our old ones, not necessarily a good thing – and then Rikki saw and heard a Kelsey and Morris PA. We got a complete custom built rig, and then, it seemed, modified, added to or changed it every few weeks, all at a cost. The old truck had to go, and we bought a brand new Mercedes hi-top van, complete with aircraft seats and 8-track. We weren’t gigging much – we had started recording – so there wasn’t much money coming in, but we didn’t care; we had no desire to look at the books. We would make a million-selling album and have more money than we could spend in a lifetime.

We recorded the album at CBS studios in New Bond Street. It was big and a bit lacking in atmosphere, and we were relative novices. Rikki was producing, but he didn’t have the ears or the musical knowhow to get the best from us, or suggest how as song might have a better structure, or recognise when something just wasn’t good enough. By this time, he had decided that we would be another Chicago (CTA), so the horns were augmented in the studio by trombone and another trumpet. Whereas, in both the original Heaven and, thus far, in Heaven 2, the wind instruments had been integral, they now became a superstructure, bolted on to the songs and a bit unwieldy, a bit top heavy. We all did our best – Nobby was outstanding – but our best needed to be better, and it could have been – with the right producer.

Rikki’s forte was overkill. More guitars, more horns, a string quartet, a double album with the mother of all gate covers, too many liner notes. He was likeable, charming, convincing, a big character, and he probably thought the band and the album were going to ‘make it’, but, leaving aside the quality of the music, there was no plan, no strategy. We didn’t release any singles, yet both Chicago and BST had got to the wider record buying public through singles. Consequently, we weren’t on the radio and, apart from one Disco 2 appearance, we weren’t seen on television. We didn’t get support spots on tours or major gigs, and we didn’t even play the sort of gigs that we had played when we were based down south. Not that we cared; it would all work out.

One day, soon after we had completed the album, Rikki dropped a bombshell. Ray, Dave and Derek (who joined before we started recording) would have to go. They didn’t have the rock n’ roll image and they didn’t sound like Chicago. Dave was going to stay on as sound engineer. I remember sitting in the dressing room at a gig, telling them that it was all Rikki’s doing, not mine, and that I had no choice but to go along with it. We’d asked Rikki to manage, and we got what we asked for. I had got to London, and I was going to stay there. Two more friends tossed overboard.

To replace Ray, Dave and Derek, Rikki recruited Norman Leppard on sax and flute, Martin drover on trumpet, and John Bennett on trombone. They were all experienced and superb players, but they were from a different background. They didn’t live with us, or travel with us, or listen to the same music as us. They were great fun on the road, and they were guys we could learn from, but it now seemed like there was Terry, Eddie, Nobby and me, plus Dave (although he was starting to seem more a part of the management than the band, which was fair enough) and horn section who were there on a paid-to-play basis. I imagine they were getting more than £25 a week.

We had some great times in Germany, mostly Munich and Frankfurt in summer, once playing in the main square in Frankfurt in the late afternoon, with all the traffic and shoppers, and people hanging out of office windows. We had to start after the clock chimed for four o’clock and finish before it chimed for five. By this time, the band was getting slick, confident and professional.

With an album that was still-born, I started to wonder – where to next? Even I had begun to realise that we didn’t have what would now be called ‘a viable business model’. We weren’t writing new material, and, although it hadn’t been mentioned, we would have to get more songs recorded and released if we were to stay in the game. I got back to the house in Putney, after a weekend in Chichester, to find Terry in pensive mood. He thought Eddie was our problem; his guitar playing wasn’t up to scratch and his songs were too ‘poppy’. I agreed – the prospect of change, any change, felt like progress, even if it wasn’t – and so we sacked Eddie, who had written more songs than the rest of us. Another friend overboard.

We asked Barry Paul to rejoin, and he jumped at the chance. His opinion of the band and the music hadn’t changed, but he freely admitted that he would do anything to get away from Chichester. He wanted to get to London.

A few rehearsals, a bigger and better (and more expensive) PA, and we were off to Germany again. The band was pretty good – tight and professional, and sounding more like Rikki’s idea of a British Chicago. But we still weren’t writing, and it was now obvious to us that we had stalled. There wasn’t much chance of CBS throwing good money after bad, certainly not without some evidence that we could come up with new songs that they could sell, and Rikki’s ‘business model’ wasn’t self financing; it required a record company to finance his and our lifestyles.

Another trip to Germany, and this time with Nobby working out his notice period – we (me, Barry and Terry) had fired him before the tour, but asked him to do the German gigs, as we had failed to find a replacement. I can’t even remember what we were thinking when we wanted to sack him. Probably, he was the latest sacrifice that would persuade the Gods of Stardom to smile on us. By the end of the tour, in Hamburg, we were asking him to stay, but I don’t remember apologising to him.

I’m a bit hazy about how I left. I remember that I had been jamming with Gary Farr whilst staying at the Mayfair house. We would sit and just play his songs, and listen to the Grateful Dead’s ‘Working Man’s Dead’. I had started to get a liking and a feel for music where the bass would lay back and let the song tell the story, instead of grinding out gymnastic riffs. Gary wanted to form a band, and he offered me the bass chair. I worked out my notice with Heaven – in Germany – and that was that. Mick Feat, from Portsmouth and Coconut Mushroom with Barry Paul, took over. It didn’t last long after that, with the trumpet and trombone leaving, and the band trying to find a direction. That was the end of Heaven 2, and the start of a few more versions, all with Terry, and all with better songs than we had, but not brass rock, and a long way from the floating melodies of the original Heaven, or even ‘Willie The Pimp’ in a cellar in East Street, Chichester.

I gigged with Gary for a while – including the inevitable Germany – in a band with Denny Barnes, a great guitarist from Portsmouth, who went on to play with Sam Apple Pie and then emigrated to Australia. Reg Isadore was on drums, and he went on to play with Robin Trower among many others. Mike Deacon, from Vinegar Joe and The Greatest Show On Earth, and, afterwards, Suzi Quatro, Darts, Roy Wood, Ginger Baker and countless others, was on keys. It never really jelled, although I learned a lot and – hey – I was still in London. After that, I joined Supertramp for a year, and didn’t play one note in anger. They wanted to write and record a new album, and didn’t want me to learn the old material. Actually, I think the real reason was that Roger enjoyed playing bass more than guitar, so they gigged with him on bass and without guitar. We tried to record some of the songs that would later make ‘Crime Of The Century’ a massive hit, but it didn’t work. I wasn’t the only thing wrong with it, but I struggled with the songs, and the results were nothing like the hit versions. After a year, Roger told me that it wasn’t working, which was a polite way of firing me, and I headed back to Chichester for a year, to regroup and improve my bass playing. As a footnote, the following summer I was on holiday from my factory job, and I took a day trip to London to see some people. I saw Terry, and then I saw Dave Margereson at CBS records – the guy who had signed Heaven. After relating to him the story of my year with Supertramp, I finished off by saying that, although I couldn’t see a future for them with the current line up, if ever he had the chance to sign Rick and Roger, he should do so, because they were exceptional songwriters. He later moved to A & M, where he signed Supertramp (Rick and Roger plus musicians who played the songs the way the writers heard them) and later became their manager. It’s a funny old world.

I visited the house in Mayfair, to find that Rikki Farr was running a PA hire company, using the equipment paid for from Heaven’s record advance. I joined Heaven with a bass and an amplifier; I left with just a bass. Dave was still with him, and they eventually moved to the USA, where I believe they have been successful.

After a year working in a factory, I joined a band in – that’s right – London. I played with various bands and artists until 1980, when I quit playing professionally. I retired in 2009, and now I’m a ‘pro muso’ again, working regularly, with a bit of recording and some trips abroad.

The obvious question is; what lessons did I learn from Heaven 2? To be honest, I’m not sure. What would I do differently? I’d like to say that I wouldn’t dump friends to get what I wanted, but I’m not sure that it would be true – certainly not for the twenty-two year old me. I would probably say that musicians should get to know about business, but it wasn’t like that then, and we were only like all the other bands who thought that success was a low hanging fruit and who couldn’t see the essential differences between what they were doing and what the those who had ‘made it’ were doing.

What stands out for me is how nice all involved were - maybe too nice, but it’s hard to see that as a fault now. Even Rikki, although I have been critical, was a lot of fun and, after all, we went to him to get a leg up the greasy pole, and he delivered. We knew him by reputation, so it was up to us to look out for ourselves. He didn’t make us superstars, but he was only one of the factors in our failure.

I wrote this because my son had found some tracks from the album on the web, and, unusually for him, was not totally dismissive of them. I had a listen, and found that I could forgive the musical fumbling of the youthful me, and that in turn led me to an fresh and honest look at the whole episode. I can hear now a little of what some people heard then and maybe still hear now, and I’m glad if we made music that moved them.

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where did I get 'Clarke' from??! He's Nobby Glover, I guess it's an age thing.
Please feel free to copy to others - some might have a different version of an event, or may recollect stuff that I've forgotten. Though I would be happy to get involved, I think you're probably right be skeptical about a reunion gig. We never thought we would get old and infirm, did we? I heard from Barry Paul on Facebook recently - he's been quite ill, still living in the US. I never got the chance to ask Andy or Brian how they felt about the split, or any of you for that matter. I've often wondered whether it was on the cards anyway, or a bolt from the blue.
John

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Not exactly accurate in places but mostly right. It’s interesting to see the whole episode from his perspective. Strange, but I was under the impression that John actually wanted to get rid of us (Derek, Dave and myself.) I know that, at my last gig with them I did make the comment that if we all stuck together none of this would be happening. I got the answer back from Eddie “well if I was crap I would expect to be fired as well”! Oh well, we live and learn. I must confess as not being very proud of myself with the way the first Heaven was ended. In my defence however at the time it seemed to me that Brian was only interested in drinking and smoking pot. I remember that on one gig we just had enough money for fuel to get home (it was not cash on the night). Brian wanted some money to get himself a beer. Dave said we don’t have enough. In the end Brian made such a fuss that Dave scraped up enough for him to go down the pub. Myself I got nothing to eat! Then Brian told me that in future he would do all of the wind arrangements. My input was not needed anymore. Finally, at a gig with the third ear band Brian, Ollie and Andy were really impressed that the Third Ear band only played for 20 minutes. They made the comment that’s how we should be. I don’t know about you but I wanted to play more not less! I don’t think the Third Ear Band were asked back! I don’t remember where that gig was but I do know that we were asked back on many occasions.
Thanks for passing that on. Did you send it to Nobby and Derek as well? I must contact them. It was nice to see you all again. Next time I will bring a horn with me.
Ray

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Barry Paul and I, both from Chichester, first played together in The Machine, a soul and pop band. I had been playing rhythm and then lead in various bands, before being asked to join The Machine on bass in 1967 (I think). The band split in 1968, and Barry joined Coconut Mushroom. I think The Machine used to get some work through FFM - we used to go and see Blackout, Mushroom and other Portsmouth bands - so I think that's how Barry got the approach. When Mushroom's bass player broke his leg, I stood in for a while.
Soon after that, Barry left Mushroom and we started Paper, recruiting Kenny Durow, who had played with Steamhammer, on drums. We worked through FFM and were managed by Ann Luckett. We played a mixture of the standard three-piece stuff - 'Crossroads', 'Born To Be Wild' - and some off the wall re-arrangements, like Leonard Cohen's 'Suzanne'. In 1969, we were the first FFM band to do the cruise to the USA and back - a story in itself - but, on our return, it was all a bit of an anti-climax.
It was either in 1969 or early 1970 that the agency suggested that we add a singer - Terry Scott. We had seen him with a Southamton band, the name of which I can't remember, and had been impressed. He joined, and we got on well, but it was only a short time afterwards that we were approached to join a re-jigged Heaven.
You probably remember what it was like then. There were loads of bands in Commer vans, navigating the south coast clubs, youth clubs, schools and bowling alleys, all playing the same material and very few having any originality. That's what made the first Heaven stand out; they wrote their own songs and people liked them. Looking back, it's easy to see that a local agency and management and gigs in youth clubs were not a fast track to stardom, but we were all not long out of school and some had day jobs. To be gigging at all seemed a privilege, and, at at that age, it took a while on the circuit before you started to wonder if it was all ever going to go anywhere. At first, Barry and I talked about our ambitions, but by the time the Heaven opportunity arrived, we weren't talking about the future much, and it was probably on the cards that one of us - probably Barry - would soon get a another gig through the Melody Maker 'Musicians Wanted' adverts.
You may know more about it, but I have some vague recollection that Heaven had had some dialogue with Rikki Farr, but that he wouldn't get involved while Ricky Martin and FFM were managing. Certainly, despite the two of them signing an agreement, it didn't take long for Rikki to get rid of Ricky - as Ricky predicted. I suppose Ricky Martin knew that he couldn't stop us talking to or signing with Rikki, but he took it all with good grace - he was a nice guy.
I heard Dave Margereson left CBS under a cloud for doing that with other bands, and that's when he went to A & M. Obviously, I have no proof, but it would explain how we got signed so quickly. Incidentally, I don't I know whether either Ray or Nobby has a copy of the demo we did for CBS; I remember it as being better than the album, and more representative of how we started out.
John

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Demo. I have no recollection at all of making a demo with the second Heaven. The original Heaven 2 management was both Ricky Martin and Ann Luckett. I seem to remember that Ann left of her own free will (unless Ricky Martin forced her out?) The reason why we approached Rikky Farr was that MMF didn’t seem to be able to get much in the way of gigs any more. It was the time when disco’s started to become the way to go and live music was going down. It was felt that, with his connections, Rikky Farr could maybe do more. If you remember at the end of Heaven 1 Brian Kemp suggested departing from MMF as well.
In his writings John has missed several things. Firstly the first recording session was with all of the original “2nd “ Heaven members. We recorded “Song for Chaos” “Got to get away”, “Dawning” and “Thing’s I should have been”. We had Dave Hauler on trombone and Butch Hudson (trumpet and piccolo trumpet) to give a bit more “thickness” to the brass. Dave also played piano. He became quite famous in the end being very involved in the BBC “Jazz Club” programme, plus he played with the BBC radio orchestra. For those 2 weeks we stayed in a cheap hotel close to Hyde Park. Personally, I feel that the songs recorded in that first session had more feeling. They were perhaps not so technically correct but the feel is better. The second set of recording are (to my mind) too mechanical.
As soon as Song for Chaos was finished Ricki Farr took the recording to CBS upper management and on the strength of that track alone (it was the first we had recorded) got the 35 grand advance. There was roughly a 2 to 3 month gap between the first recording session and the next session. In that period Butch Hudson played on one gig but Rikki didn’t like the “image” he projected. He was too old and not “hip” so he was not invited to continue! We then had a trumpet player from the Royal School of Music. His name was George (I can’t remember his full name) He lived in a tiny flat in London. We did several gigs during that period with George. The others were buying new guitars and amps. A new PA was also purchased but we still continued with the Ford van. I did think about getting a new baritone sax but I held back. I realised that the advance would not last forever. About 2 weeks before the next recording session I was told that the rest of the group had decided to replace the brass section completely. We were all fired. Dave would stay on as sound controller and roady. We did one more gig together at a University close to London. In the middle of my sax solo in “Evil Woman” George played the melody from Red Flag (the soviet national anthem) just to tell the others how he felt about everything. He later offered me a job in London with a soul band. Unfortunately, after 2 weeks of rehearsals (and the last of my money gone) the whole thing folded, so it was back to engineering for me! I think the others moved to London about the start of the second recording session. They also bought the Mercedes van about that time. The next few years, for me, were awful. I later joined the merchant navy as ships engineer. Then my life started to come together again.
Ray

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We did a demo of 'Things I Should Have Been' and 'Got to Get Away' at a London studio (can't for the life of me remember the name, although the engineer was someone who later became a name - Martin Birch or Steve Lilleywhite?). I had a copy on acetate - we may all have had one - and I remember it deteriorating very quickly with play. This demo was paid for by CBS. Annie was involved at first because she had managed 'Paper', but I think she ducked out voluntarily.
Whatever the details, I think we can agree that we went with Rikki Farr to improve our situation. A lot of the decision making originated with the Portsmouth guys - Ray, Dave and Nobby - simply because it was easier for them to communicate with each other than with Southampton (Terry), Eastleigh (Eddie) and Chichester (me). I didn't even have a phone. This isn't a criticism; it's just that Ray might remember discussions that influenced what we did where I was not present. Having said that, I was in full agreement with the idea of approaching Rikki, although I didn't know him at the time - only by reputation.
The 'first' recording session to which you refer, Ray, was in CBS New Bond Street, and was in fact after we signed the record deal, and was the first session for the album. Dave Horler was already very well known - he and Butch did eight hours a day session work, including the Radio 2 Big Band, and I had Dave on a Mike Gibbs Band album, which was why I was quite gobsmacked to be in a studio with him. I used to sit in the pub and ask him about people like Ray Warleigh, Alan Skidmore, Kenny Wheeler and Jack Bruce.
The hotel was in Lancaster Gate, and I think we were all in one room!! It was a band hotel - I can't remember the name, but it will come to me - and, at the time, Funkadelic were staying there, having trouble getting to play in Britain because of their stage antics; you could get stoned by just breathing in the corridors.
I don't think this was before we had a contract, for three reasons; first, we had already submitted the demo described above, and, second, CBS New Bond Street was a big, expensive studio. CBS wouldn't have paid for us to use up that amount of studio time there, AND paid session fees for Butch and Dave, AND hotel bills, in order for us to produce a demo that they might then reject, and Rikki was broke, so he couldn't have financed it. And none of the tracks was finished in one session; there were dubbing sessions and re-tracked guitars and vocals. I did a lot of demos for various artists over the following years, and they were never in expensive studios - always in 4 or 8 track jobs, unless somebody other than the prospective record company was footing the bill. Third, I did the whole album on a Dan Armstrong plexi-glass bass (God forgive me) which was bought with the record advance, so we must have got the advance (and started spending it) before we started the album. (I think Nobby got a new Hayman kit, and Eddie a Gibson Flying -V, all used on the album). There is no way we could have afforded any of that before we got the advance. The demo had been done on my Precision, which went as part of the PX for the Dan Armstrong, as did Nobby's old kit and Eddie's Les Paul for their gear.
The short-lived additional trumpet player was, I think, George Barker? I'm sure Rikki would have told the guys he fired that he was doing it at the behest of the rest of the band, but it really was the other way around; he told us that they had to go. It's still pretty inexcusable that Nobby, Terry and I (and maybe Dave Gautry) didn't veto it. We'd sold our souls for £25 a week. If I'm critical of the music, it's not a criticism the musicians in the band; we did what we did at the time, and, although I fully recognise the influence of hindsight, what we did could have been better without session players and with a proper producer. I still don't think it would have been a commercial success. Heaven 2 finished when Ray and Derek were sacked. Although we carried on working and got very slick, we lost more than we gained. I know my memory isn't what it was, so I'm not claiming infallibility, but I'm sure about the demo and recording the album. Let me know your thoughts, chaps,
John

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It’s interesting to realise how one forgets things! I still have no recollection of making a demo with Heaven 2! We went to Rikki because of his musical contacts with the Isle of Wight rock festival. We had played the year before at the Isle of Wight with Heaven 1. At the time gigs with MMF were getting less and less. We had the hope that perhaps Rikki would be able to sort something out for us. Was it a good move or not? In retrospect for my musical career probably not but, because of the way things panned out I went back to engineering. That, for me, was definitely a good move!
I don’t know if you are aware but I ended up being the Chief Mechanical Design Engineer for what is now known as Airbus Space Industries in Germany. Although I am now officially retired I am still employed as a consultant engineer for BMW in Munich. Steady income and interesting work but still with the chance to play music when I want to!
Interestingly I met up with Jon Hiseman in Munich a few years ago. He was doing a concert here with Barbara (his wife). We had played a concert with Colosseum earlier with Heaven 1 in Weymouth and, at that time, I had the chance to get to know both him and Dick Heckstall-Smith. Jon was surprised to see me in Munich. He was very envious however to learn that I was out of the music scene as a professional. He complained to me that he never has the chance to see his children and is always on the road. You are quite correct in remembering that we had a contract before starting the album. What Rikki did was negotiate a large increase in the advance. He took the tape of “Song for Chaos” to the meeting with CBS upper management to let them hear what they were getting! Because of the increase in the advance we did however have to have the royalties on music sales reduced from 5% to , I think 2 %. Not that I ever saw any royalties anyway! Although none of the tracks were finished in one session “Song for Chaos” was the first finished track, and in my mind, the best one.
You say that the record was a flop but it’s surprising to see how many positive reviews it gets now. It is still possible to buy it as a CD and I read that it has been reissued in its original form complete with the fold-out sleeve. The Hotel was in Lancaster Gate. I seem to remember that Idle Race (with, at the time, Jeff Lyne) were also staying there for some of the time. We played football with them in Hyde Park one Sunday morning before going to the pub for lunch! During the week we were not allowed to do any recording before 6 pm because of the offices next to the studio. We were allowed to record at the weekends during the day because the offices were closed, however the pub downstairs was also closed on Sundays!
I had already met Dave Horler in the Dolphin jazz club in Botley although it was not until later that he and I realised it. At that time he lived in Lymington and was playing in a jazz combo in Southampton. I know that you and Eddie bought new guitars before the recording. If you look at the album sleeve you can see pictures of Eddie playing the Gibson Flying-V. I also remember being in agreement of you getting a second bass because you were always breaking strings! That caused a rather unprofessional delay between songs whilst repairs were carried out! However I thought that you and Eddie kept the Fender and other Gibson, although I can’t be sure. I know that Eddie used the “normal” Gibson on “Got to get away” because I remember he used a coke can to get the sliding effect on it. Initially Nobby used his Ludwig Champagne kit however Rikki persuaded him later to part exchange the Ludwig for a double Hayman. Nobby still complains about that today. I think he preferred a single kit to a double.
The additional trumpet player was George Barker. I wonder what happed to him? Talking of instruments I remember, when Rikki told me that the others in the band had decided that I was simply not good enough, he also said that I would be allowed to keep my instruments. I told him I bloody well hope so, I paid for them long before I formed the band! Earlier this year I was in the UK in September for a week. I was very pleased to be able to meet up with Nobby, Mick and Derek and discuss old times. If only we could get to play together again. One last time before the end. I shall be 70 next August. Perhaps I can arrange a concert as my birthday party!
Ray

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