The annual BBC 4 “Berry Birthday” showing of the 1972 Stanley Dorman-produced ” In Concert- Chuck Berry with Rockin’ Horse” makes me realize why the Beeb has never licensed this performance out to general C.D.
Over the 43 years since we did this performance, it has become critically acclaimed as the best Chuck Berry performance on film ( Hail! Hail ! Rock an’ Roll, notwithstanding }. This was the last show on an extensive European tour in which the promoter had the foresight to engage me, and my colleagues Billy Kinsley, Jimmy Campbell and Dave Harrison ( three fifths of Rockin’ Horse, the studio group}) to be his band on every date, the various T.V. shows included.
As we here hired by the promoter, we never had to deal with Chuck’s sometimes confrontational money issues, so we could just glory in playing with him, and a wonderful rapport was the result.
There was never a set list, the keys were arbitrary from show to show, but we were so tight on his ass, that he couldn’t shake us.
As soon as he copped that , he started to pop out deep cuts, like “Havana Moon” and ” You Never Can Tell” – check, Gotcha ! We stood silent for the live recording of ” My ding-a-ling”, but I sneaked in some piano licks on the similarly acappela ” South Of The Border”, which was the follow-up single on Chess.
We developed the long piece, ” The Blues” during the tour. I usually sat next to him on the plane, or bus, or whatever, and one time I suggested that maybe I could play a Thelonius Monk type solo on this particular tune, as Monk seemed like the blues to me. Chuck, who was deep into Charlie Christian, gave me the slanted smile and said ” Let’s do it”. That became the instrumental centerpiece as the tour progressed. It was all playing, and we did play.
When he was playing serious, he was killer. We used to do ‘ A Train” to sound -check, for Heaven’s sake !
Al these years later, it still seems like a dream !
At Graceland, tourists goggle at the sight of the garish room that Elvis dubbed “The Jungle Room.”
As far as I’m concerned, the real Jungle Room was in Hampstead, London, where Doris Troy resided from 1969-1972, during her time with Apple Records and her reign as doyenne of the British back-ground singer scene. Befitting her status as a hit songwriter and esteemed performer, and newly signed to The Beatles’ label, she lived in fine style. A spacious apartment in fashionable Hampstead, with a tennis court, and her Austin Princess limo parked in the back, it had a huge room for entertaining, which she had tastefully decorated with African motifs and outfitted with enough banquettes and coffee tables to comfortably seat thirty or forty people.
I’d been associated with Doris since her first U.K. tour with The Rolling Stones and The Hollies in 1963, had played with her on all her subsequent European tours, and so, by the time she settled in London, I happily became her full-time pianist and musical director. I lived reasonably close by, in Camden Town, in a nice third story flat, but because it was only accessible via a narrow, Dickensian staircase, the natural home for my Hammond B-3, when we weren’t on the road, was The Jungle Room. Being a cool pianist herself, Doris had a fine spinet piano (Yamaha or Kawai, not sure) in there, and also an Afro-Cuban percussion setup.
In this room Doris would assemble vocal groups to rehearse for her myriad vocal session projects and it was where we brewed up the Pentecostal rave-up that became the ground-breaking live album “The Rainbow Testament.” Doris’s Jungle Room soon turned into a “Salon de Soul,” if you will. Initially, Billy Preston was around all the time, as he was signed to Apple too, and he and Doris were writing and recording full-steam. I got to spend so much precious time with him … what a warm and friendly man, and so generous … one could learn a lot from Billy P.
Every eminent U.S. touring star had the Troy phone number, and that was often the first call they’d make! Doris was like the U.S Ambassador for Soul in the U.K, (or more aptly, ” Mama Soul,” as she came to be known there). Her place became a home away from home, and the amazing array of great artists I got to hang out with in that room still spins my head to this day! Ben. E. King, affectionately called Bennie, Edwin Starr, Maxine Brown, Obie Benson of The Four Tops, Esther Phillips, Junior Walker, Solomon Burke, Rufus Thomas, and a host of others would come by. The piano, the Hammond organ, and the percussion set-up would usually be too tempting for guests to by-pass, so many an impromptu jam would happen.
It was also ground zero for the many ex-pat Americans in Doris’s orbit: Pat (P.P.) Arnold and Jimmy Thomas, recently of the Ike &Tina Turner Revue, Rosetta Hightower, Claudia Linnear, Jimmy Helms, and many others got it on back there. Stephen Stills was a frequent visitor and, needless to say, there was usually a sprinkling of Apple illuminati around.
When Chris White, of Zombies fame, signed on to produce “The Rainbow Testament,” he got his first taste of the Pentecostal bomb squad in that room. By rock’n’roll standards, Chris was a low-key gentleman, arriving sedately with his new bride, but he was rapidly swept up in the contagious atmosphere, only leaving when the last Hallelujah! had been sung in the early hours. By the time tape was rolling at the Rainbow Theatre some weeks later, Chris had his sanctified hat on for sure!
The band assembled for that live album was a juggernaut, much larger than the regular version of The Gospel Truth (which was usually a 10-piece) so the logistics were formidable . As an ensemble rehearsal wasn’t on the cards, the great saxman Phil Kenzie, Doris, and I plotted and planned the whole shebang back there in The Jungle Room like it was the Normandy landing. Phil was in charge of the horn section, Doris had responsibility for the choir, natch, and the rhythm section was my pigeon. Each element was rehearsed separately with the three of us in attendance, and Chris dropped by from time to time to check progress. By show time the jigsaw fitted together perfectly, as is evident in the finished product.
But, as George Harrison, who produced records with both Doris and Billy during that time, sagely put it, “All Things Must Pass.” Eventually Doris returned to the States; I followed soon after, as did Phil. I sometimes wonder if subsequent occupants of that Hampstead house ever walked into that big back room and picked up a ghostly soulful vibe or two.
Heavy heart today, after yesterday’s news about Joe B. Mauldin’s passing at 74. He was an idol to me as a kid, and working with him from the late ’70’s onwards led to a friendship that endured.
The most humble and understated of men, despite his legendary status, he always projected an unaffected warmth and ease.
When Steve Winwood was first in Nashville we invited him to a party at which Joe B. and Jane were in attendance. When introduced, Steve went to his knees and kissed Joe B’s hands….when Keith Richards inducted The Crickets into the Musicians’ Hall Of Fame, his reaction was somewhat similar. Joe always seemed a little bemused by the adulation, but accepted it graciously.
As a youngster, it was beyond my wildest dreams that I’d ever be able to number Joe B. among my dear family friends, but what a blessing it was!
Deepest condolences to Jane and the girls; and his lifelong buddies, Jerry (J.I.) Allison, and Sonny Curtis
January 6th. would have been Doris Troy’s 77th birthday….those of you who know me personally are aware of the impact she had on my early career, in so many ways, which I detail in my book ” Mersey Me!”, from her first tour in the U.K. with The Stones and The Hollies, where she wiped the floor with them every gig, to the glory years of the late sixties, when I served as her musical director and pianist.
She earned the title “Mama Soul”, or ” Mother Soul” in the U.K. , where she spent the most fruitful part of her career, after her classic association with Atlantic Records, which resulted in her string of self-written, much covered solo hits, but also her background vocal expertise on records by Solomon Burke and many others. It was well-earned….in the U.K., she was ground zero for the aspiring vocal talents who arrived from the States, and built a formidable Rolodex of savvy studio singers, who she shepherded masterfully through the sometimes stodgy world of British studio recording at that time.
She knew more than most of the producers did about BGV, ( vocal background recording), both as a leader and vocal arranger, and the list of recordings that she contributed to, either solo, or with her team, is quite dizzying. Try John Lennon and Pink Floyd, for starters, and look the rest up !
Larger than life, both in stature and attitude, she made a huge impact in the gradually expanding London recording scene….a queen bee in some ways; she was amazingly inclusive, at home working with Roger Waters or Zombies guru Chris White, Beatles, Stones and on and on.
She was godmother to my daughter Celeste, and always sent gifts at appropriate life landmarks. Celeste visited her in Vegas not long before Doris passed, and I treasure the phone call, which I taped, of that visit.
She lit up my life in so many ways, with her humor, bravery and great talent. It will always be my honor to have known her. Happy Birthday, Angel Face!
It’s been a hard week in a hard month, in a hard year, where many of my musical colleagues have punched their ticket for the big tour bus in the sky. Some close friends and collaborators, some who I worked with here and there, some who I’d only shared a tale with in a bar or a studio.
Music seems to keep one young, at least mentally, so we keep on doing what we do, and it’s only when our contemporaries start going down that the full realization of THE ZONE , and the fact that we’re in it, takes hold.
Well, I’ve got a new record for the kiddies I have to start, and this time I’ll have all of the celestial bus-riders in mind as I do it !
Recent Facebook confabs with the estimable Bobby Taylor got me meditating on the fact that over a fifty plus year career in music, I’ve been fortunate to have had wonderful luck with the boyz with all the noize.
My first band in Liverpool , Mike & The Creoles, had a fourteen year old redhead named Roy Dyke on the throne, and compared to our callow efforts, he played like a grown man. Roy, of course went on to great things: The Remo 4, Ashton, Gardner & Dyke, a session career, and so on.
Next up was the late Lewis (Lew) Collins with The Kansas City Five, and although he made his great mark as an actor in later years, most notably in “The Professionals” he was a very good drummer, and charismatic, to boot.
Lee Castle & the Barons had Ian Broad, followed by Mel Preston, who played on the Parlophone sides. They were both very solid cats, each able to swing as well as rock.
When I moved to London in late ’63, it was largely because I wanted to play with a great, yet still underrated, drummer named Gerry Wood. I worked with him in several configurations: West Five, who had a minor hit with the first Jagger/Richards song cut outside of The Stones, but, more importantly, backed Doris Troy on her first U.K tour with The Stones and The Hollies which led to my long association with Mama Soul. She Trinity, which featured Margo and Carol from Goldie and The Gingerbreads (very talented New Yorker’s who had a funky, jazzy, feel) with Margo kicking bass pedals on her B-3 and playing deep, gritty solos along with Carol’s cool, blue Fender guitar. I was very happy to play rhythm guitar, with Gerry swinging like the clappers, along with a fine sax player, Don Jones, who covered baritoneup through soprano.
After that, Gerry, bassist Mick Fitzpatrick and I backed Diane Ferraz and Nicky Scott on that duo’s ill-fated, but interesting assault on the Top 40. There’s always something good to be found, though, and when I joined the Checkmates, I brought Diane in to morph it into Ferris Wheel with the late Barry Reeves behind the kit. A bit of a wild one at that point, as he was rather close to Brian Jones – he was a powerhouse player, nonetheless, and went on to a successful stint with Blossom Toes, before becoming a fixture with the James Last Orchestra.
Barry’s exit led to the entrance of another teenage phenomenon, Dennis Elliott, then a mere lad of seventeen, but frighteningly accomplished, and perfectly capable of executing all the intricate moves that occurred on the later jazz/psych stuff we did with the soaring Linda Lewis, who was just sixteen at the time. Dennis went on to anchor The Roy Young Band and England’s greatest jazz-rock band “If”, before hitting pay dirt most deservedly with Foreigner. He set a template for stadium and arena drumming that is still hard to beat. But I betcha’ he could still play a Max Roach groove right now that would make you check your watch.
When I started to supervise all the publishing demo output for R.S.O. we were cutting ten to twenty tracks a month, and Tony Knight helped ease that workload, along with Rob Townsend (of Family), when he was available. Both excellent and versatile drummers.
Putting The Gospel Truth soul and gospel revue together for Doris Troy was quite an undertaking, as it involved anywhere from fifteen to thirty players and singers, including a horn section, choir, percussionists and three keyboard players, but NO GUITARS. I brought in the great Jamaican drummer Byron Lye-Fookfor all of that, including the live album “The Rainbow Testament” recorded at London’s Rainbow Theatre.
Apart from his chops, Byron exhibited an almost preternatural Rasta calm at all times, which I found very reassuring given the volcanic and open-ended nature of the proceedings. I could always be sure he’d have his eyes and ears wide open, watching both Doris and I like a hawk, in case the improv took on unexpected directions.
During this same time frame, my old pal from The Zombies, Colin Blunstone, had a surprise big hit – the Denny Laine song “Say You Don’t Mind” (from his first solo album “One Year”), but performed with only a string quintet for backing. It was brilliantly arranged, like most of the album, by Chris Gunning. Colin had never worked with anyone but The Zombies and had never had to put a band together from scratch. So, he asked me if I’d do the necessary, which involved an electric rhythm section and a string quintet, as he was expected to do The Zombies hits in addition to the new solo material. His management had the very innovative idea of only booking into the symphony halls and opera houses, with Roy Wood’s freshly minted brainchild Electric Light Orchestra as the opening act. Very exciting stuff, except that the tour was supposed to kick off barely weeks away. I didn’t have to worry about the string players, as the guys who’d played on the album were already signed up, but I had to put the electric band together in a hurry.
If you know The Zombies records, they are not pushovers….very jazzy, with complex chords, and we also had to deal with the new material, which required an excellent guitar player, both on electric, but also on acoustic and classical, and a versatile bassist. Of course, the keyboards and conducting end of things was totally on me. God! The confidence of Youth!
It being the start of the touring season, my Rolodex ran dry in a hurry, but I’d heard on the vine about a really good up and coming bass player Steve Bingham, who I’d not booked before, so I called him and he proved ideal at once (these days he’s leading Geno Washington’s very successful resurgence in Europe).
I was still making drum calls, but I didn’t feel this would be Byron’s cup of tea, although I knew he’d be available, as Doris had put the Gospel Truth on hiatus for the summer, with George Ford, Phil Kenzie and other key players otherwise committed, including myself with Colin, and the live album in the mixing stage.
I was still short a guitar player when I had my initial meeting with the string section. Fortunately one of them gave me Derek Griffiths’ number, and he proved to be just the ticket, as he could read, and although more a specialist in acoustic and classical guitar, he was also a capable electric player too……which left drums.
So I dropped the dime on Byron….as expected, he was initially dubious, but I had my selling shoes on, so he agreed to come over and listen to the proposed set list. He was familiar with “She’s Not There”, of course, and he got into the syncopation of “Tell Her No”. By the time we’d got to “Time Of The Season” he allowed that it was pretty happening stuff and telling him that he’d have a break when we did the string quintet portion of the set….well, that sealed the deal. By that point we only had a week for rehearsal in the old Ken Colyer Jazz Club, off Shaftsbury Avenue. Two days without Colin, so I could routine the rhythm section, two days with Colin and the section, one day with the string quintet, and two days with the full ensemble, including the finale, an arrangement of Chuck Berry’s “Memphis, Tennessee” which I wrote at the last-minute, at Colin’s suggestion, for all nine pieces.
Byron was rock solid from day one and his island nuances really sat well with the older Zombies material. The tour was a great success, and our dreadlocked drummer, possibly the first West Indian to ever play in some of those old concert halls took to it all like the proverbial duck to water. It went so well that at tour’s end we all went into Abbey Road to cut Colin’s follow-up album “Ennismore”, which resulted in the big hit single “I Don’t Believe In Miracles”.
My involvement in Rockin’ Horse was initially strictly as a session player.
The concept was built around the vocal and songwriting talents of the already successful Billy Kinsley (Merseybeats, Merseys, and later Liverpool Express) and a lesser-known artist, Jimmy Campbell, who’d caught attention for his distinctive confessional writing style and a vocal delivery to rival John Lennon (in The Kirkbys and The 23rd Turn-off). Billy and Jimmy were based in Liverpool, and their producer/manager Hal Carter felt that what they had would benefit from building a studio band around the two of them. Jimmy was a more than serviceable rhythm guitarist, Billy, a studio quality bass player, and Hal rounded it out with Stan Gorman on drums, Bobby Faloon on lead guitar and banjo, and I on keyboards and 12-string guitar. The hired guns were encouraged to join in the group-think, and band cohesion built quickly. Stan intuited that a certain flavor of Ringo’ness would suit the overall picture, and we went on to make an album “Yes It Is”, that as a result of its many reissues over the years has been lauded as “the first Power Pop album” and “the best album The Beatles never made”. Stan’s drumming was a big part of the slightly retro nature of the overall sound, which in 1973 was viewed as passe, but has proved to have staying power.
In a strange twist of fate, the only touring Rockin’ Horse (or a variant thereof) ever did was a European trek, backing Chuck Berry. It was probably as a result of Hal Carter’s contacts, but it was initially weird, as the gig was purely to back Chuck, which suited me fine. What Liverpool lad worth his salt wouldn’t want that gig? Mr. Berry’s reputation as a difficult cat preceded him, so Hal had wisely set up a warm-up show at the University of Lancaster before the main tour kicked off. Just as well!
I had heard that Chuck preferred to communicate with the piano player, if there was one, so I was duly summoned to his dressing room beforehand. He was silkily courteous, and when I asked what the plan was, he replied that the plan was to play some Chuck Berry music. When I shamelessly name-dropped both Johnny Johnson and Lafayette Leake (his most famous piano cohorts) he replied that we ‘d get on well, which indeed proved to be the case. He demonstrated some physical cues for breaks and endings, and that was it. No set-list, no keys…
I took this scant information back to the lads, and next thing we were up on stage in the thick of it. Chuck’s tuning was casual at best and he was blasting a stereo Gibson 345 through two Marshall stacks, while the monitor set-up left much to be desired, so considering we were hanging on for dear life, I didn’t think it had gone too badly. Not so Mr. Berry. I was summoned again “You, the rhythm guitarist and the bass player are fine. I don’t need no lead guitarist getting in my way, so he’s gone, and that drummer’s too fancy. He’s gone too. Find me a meat and potatoes guy who’ll stick to me like glue .” Dismissed. This was not the kind of news I wanted to be carrying back to the band room, but when I did, Stan and Bobby seemed relieved, and were probably glad to bail and get back to the studios. Billy was thinking fast on his feet, and immediately brought up the name of Dave Harrison, back in Liverpool, who had an encyclopedic knowledge of Chuck’s work, and fitted Mr. Berry’s description to a tee. There were no recriminations. It was chillingly business-like as Stan and Bobby arranged to ride back to London with the gear and after Billy had a quick confab with Chuck, he, Jimmy and I jumped in Chuck’s limo to make the thirty mile trip to Liverpool right now!
You cannot make stuff like this up…on the ride Chuck was affable, and obviously had a comfort level that all three of us were from Liverpool. He inquired where Stan and Bobby were from, and when we replied London and Glasgow, he grinned ” Naw, I need me a Liverpool band’. We arrived on the outskirts of town at about 2 a.m. and Billy navigated us to where Dave lived, above an auto repair shop he operated. It was a serious lights-out situation when Billy started trying to knock ’em up. There were no mobile phones back then, of course, so we’d just had to fly blind with no warning. I didn’t know Dave at all, so as Kinsley loped over the forecourt, I was watching everything-Chuck in the corner, with a lazy smile on his face, Campbell clenched and quiet.
A light came on upstairs, a blond bloke in his skivvies was shouting, “Whatcha’ want?” I could see Billy yelling up and pointing towards the car. Jimmy jumped out and did a soccer sprint to the scene of the action, and also started yelling and pointing.
Chuck, vastly amused, drawled…”Yeah, this is what I figured Liverpool would be like.”
A few minutes later, Dave came down and opened the front door, with his missus yelling away behind him. Billy and Jimmy walked him barefoot to the limo. He put his head in the open back window, his eyes saucers. Chuck looked at his prominent gold watch, and said “Hi, Dave, these gents tell me you’re the man for the job. You comin’ or what?”
“Give me half an hour to pack a bag and get the drums out of the shop,” he replied. There was room in the trunk for his kit, as all the rest of the gear had gone south with Stan, Bobby and the road crew. Given the circumstances, Dave conducted himself pretty calmly, which was a good sign, and when we arrived in London, he had a free day to rest up and adjust. Again, the only rehearsal was me showing him Chuck’s body cues, and when he asked about the duck walk, I replied “That’s when you get your head down and drive it hard,” as the walk was usually the signal for some heavy guitar/piano soloing.
Dave’s debut and the official start to the tour was seamless, and he played all the dates, including live T.V. concerts in London and Germany, with great distinction. Chuck was happy, we were happy, and a good time was had by all. When it wound up, the guys went back to Liverpool on the train with their gear in the luggage car, and I never saw Dave again, but he had his moment and rose to the task magnificently.
Gaspar Lawal, Earl Anthony, Chris Selwood, Doris Troy, Claudette Houchen, Jimmy Helms, Linda Lewis, Lisa Strike, Pamela Douglas, Claudia Linnear, and Jimmy Thomas.
Phil Symes, Byron Lye-Fook, George Ford
Article Written by Phil Symes
This article was written about the “Rainbow Testament” concert and live album. Major ass was kicked that night, I assure you, and by the time the group picture was taken there were probably 40 people onstage…that pic is only a small part of the choir!