Professional Documents
Culture Documents
1. Please tell
us briefly
about
yourself. For
example,
where you are
from, what
type of family
background
you have,
etc.?
I was born in a
place called
Littlehampton
and grew up in
a farming village called West Wittering on the south coast of
England. My mother, Ilse, is Austrian. She had to flee with her
two sisters during World War II and eventually settled in
England. She developed a good reputation as an artist locally -
some of her paintings have been exhibited in London. In her
30s, she met my father, affectionately nicknamed Chunky. His
parents worked in India helping indigenous people establish their
own businesses during the rule of the British. He went to
Cambridge University to study English, but later switching to
music. In adult live he became a marine engineer but died when
I was three years old.
I was four years old when I had a few music lessons but these
did not last. Some years later, when I was about 8, my mother
tried again but I hated being taught how to play music. I
preferred to compose my own. Before I took any exams, at just
9 years old, I refused to go to piano lessons. The love affair with
composing grew in my teens. We sold a piano and replaced it
with a combined organ/synthesiser. My formal music education
did not restart until I was 19 years old.
3. Who were early influences?
10. When the album was recorded, the musical scene was
dominated by the punk/new wave movement, and I think
demand for the prog music was weak. Please explain the
situation back then.
That was definitely true nationally, but locally classic rock music
was popular. Chichester is a harbour town with many small
sailing clubs around the area. There was a strong rock disco
scene that drew in kids from the schools and colleges. These
discos never played pop music, although they were later
influenced by punk. The most popular disco was called Freebird,
after the Lynryd Skynyrd track. It had a big following locally and
kept rock music including prog popular in the Chichester area
until the mid-1980s.
The takes on Into the Mouth of the Tiger come from two „Rock at
the Regis‟ gigs (in early 1982), one concert at Chichester High
School (in 1983) and one of the outdoor Chichester Festival
performances (in 1984). We always felt the sound at the Rock
the Regis gigs was warm and rich. Outdoors it is hard to get a
good sound. Benny had a good mixing desk and combined direct
lines from our equipment with sound picked up from various
microphones around the drum kit. The recording quality - for the
time - was close to that of commercially produced live albums
(and at no extra cost to the band).
After Protos
Sly was a diversion from serious writing - a bit of fun for the
summer period in Chichester. We quite liked the music of Sky
(John Williams) so we put together a tongue-in-cheek band
called Sly. It was a satire. Nigel would introduce everything in
an Australian accent and we pretended to be Sky for a day,
visiting the Chichester Festival for a special gig. In a sense, we
were a progressive rock tribute band before this idea ever took
off commercially.
The album Passing Decades takes its title from the opening
track. In the 1980s, I was influenced by jazz/funk, particularly
Mark King and Level 42. I still liked progressive rock but
combined this with new musical forms and influences coming
over from the US. Passing Decades (the track) was a hybrid
between 1970s and 1980s-style composition and I gave it this
name to capture how it bridges two generations of music
writing. It was released exactly two decades after the track
Passing Decades was originally recorded. Visually, I took up the
passing decades theme with pictures of my daughter (Natasha)
and wife (Caroline). Not only did I wish to convey the notion of a
girl transforming into a woman, but also connection between
daughter and mother, and the journey from childhood innocence
to adult sensuality.
New Beginnings
We are deeply grateful for the way your enthusiasm and interest
has changed our lives. More than any other group of fans,
people in Japan have kept the music alive and made it possible
for Steve and I to write more music. Please accept our warmest
thanks and best wishes.