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Thread: 1968-01-20 De Lane Lea, London

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    1968-01-20 De Lane Lea, London

    Saturday 20 January 1968, De Lane Lea Music Ltd, 129 Kingsway, London WC2.
    Roger McGough - vox, Mike McGear - vox, Jimi guitar, [unknown which songs and which combinations the following played]: Dave Mason – guitar & sitar, Barry Fantoni - saxophone, Mitch Mitchell or Gary Leeds or Viv Prince drums, Noel Redding or Jack Bruce bass, Graham Nash – [?], John Mayall – [?].
    Producer: Paul McCartney
    Engineer: [unknown]


    So Much (McGough & McGear)
    Ex Art Student (McGear & McGough)

    Some of the above with Jane Asher playing toy instruments – Jimi on drums:


    Oh To Be A Child (McGough & McGear. aka “Toy Symphony”. – unreleased. A version by the Scaffold was released later).

    Noel: “Paul's [McCartney] brother [Mike “McGear”], was a close friend of mine and it was through him that the invitation to play was made.”

    Roger McGough: “I never kidded myself about my music, I would be in the same recording studios as the likes of Jimi Hendrix, but as soon as he picked up an instrument it was very clear he was a musician and I wasn't."

    “It was exciting hanging out with Keith Moon and Jimi Hendrix, but I wasn’t cut out for the promiscuity of rock’n’roll.”

    "When I was part of a music group and meeting Keith Moon and Jimi Hendrix, I felt excited about it but I never felt part of it. When they were passing the joints round on the coach on the way back from a gig, I was always the one who said no."

    Mike McGear: “The climax of the McGough McGear album for me was a track which eventually never made the LP was entitled 'Oh! To Be A Child' I thought it only proper to use childlike instruments and so I hired 'Haydn's Toy Symphony' collection from a London music store. To create a studio atmosphere, as opposed to the dead studio sound, we opened the studio doors and arranged the microphones in the corridors. Then my greatest joy was to witness Jane 'Serious Actress' Asher, Graham 'Holly' Nash, Mitch 'Experience’ Mitchell, Noel 'Clonakilty Cowboy' Redding, John 'Blues Man' Mayall, Dave 'Traffic' Mason, and Jimi 'Wild Man’ Hendrix walking up and down the corridors banging toy instruments like big soft kids."

    “It was quite extraordinary when you think today of the line up. Obviously, our kid you would know, Jimi Hendrix with the Experience – Noel and Mitch. They came along, different days. Graham ‘Hollies CSNY’ Nash, Dave ‘Traffic’ Mason and his girlfriend Carol. Spencer Davis was there. Paul Samuel Smith from the Yardies, he went on to produce Cat Stevens and Carly Simon. He was an important part of this McGough McGear album. Gary ‘Walker Brothers’ Leeds. Viv Prince of The Pretty Things, he was the drummer that Keith Moon used to love, he looked up to Viv. ‘So Much In Love’ and the end of ‘Ex Art Student’ have that very Moony feel.
    Mike Hart from The Roadrunners came down from Liverpool. John Mayall from The Bluesbreakers. George Zoot Bruno Money, was an integral part. On the floating sax at the end is William ‘Wib’ Bennett from the Royal Philharmonic in London. Andy Roberts was the main person behind all the poetry.
    So if we got that line up in today’s marketplace the equivalent is people like Prince. Rihanna, Ed Sheeran, people like Elton John, if you got all of them that is the sort of line up that was there then. They just came along because they were mates or were passing through town. We started this album on June 18, our kid’s birthday. We won’t go into the fact that he had admitted on the very same day taking LSD. He was full of money. During the recording we became quite well known at Christmas, Scaffold’s ‘Thank You Very Much’ was number five or four in the charts. More people would be more amenable to coming in. They were contractually obligated and tied to the record companies but in the 60’s it was much better in terms of them saying ‘Sod off, we like doing this’. We weren’t a threat, comedy, poetry etc, it was not rock’n’roll. So when the rock n rollers came in, I was allowed to do all my songs there with the best in the world at that time.
    We did the basic words that were McGough’s words, but then I thought of this idea of having all my favourite painters and then you start going. Jane Asher, who was our kid’s girlfriend then, she narrated it. So the whole album was very much loose and experimental. The best way to sum it up is live and loose. It was that sort of thing where we had no idea what we were doing until we got in, we just went for it. The majority of it was first takes. We just went for it and people were busy they’d come in and give us their time. Jimi Hendrix, come in and play your guitar, off you go. That’s what it was, very much a go for it album, don’t think about it do it.
    That ending [on Ex Art Student, with Jimi Hendrix’ guitar] is the best ending, if you just let it go and sit back. A glass of wine or whatever pleases you, a cup of tea it doesn’t matter. Turn the lights down and where it fades down at that end and it goes into that Moony Viv Prince, I think Mitch Mitchell might have been with him. It’s a bit like the Scaffold track ‘Do The Albert’. As that fades down and then suddenly, this floating starts and you get Dave Mason on his sitar and then you get Wib Bennett with his beautiful flute. And then Jimi’s [mimics wah wah guitar]… those beautiful wah wah guitar noises like bubbles, rainbow bubbles coming in and that. You could just go on forever you could just because you could put on a loop tape and be in another world.”

    20 January 1968, One Stop Records, Molton Street, London.
    Jimi buys some records; writes them a cheque for Ł15. 15s.

    See Lifelines for photos etc.:
    Last edited by stplsd; 09-30-16 at 09:22 AM.

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