An interview with TIM ROSE So all the early people like and I wrote a couple of verses (In the Slug And Fiddle, Dylan all had options from and that arrangement of mine Sheffield. 9 February 1997) these places to come back to grew out of a living, breathing Greenwich and get three kind of working art. PT: Were you annoyed by that hundred dollars a week or noisy crowd tonight? something. So you were not aware of the TR: I can't say it. They're Nick fast rock versions of it? Cave’s regulars and it was a They did give exposure, not so No. I never heard it until mine good gig. Any time that you much the club owners because came out. Then it came out of have drinking you are going to they were just taking the walls, but I'd never heard have that. In a concert hall advantage; we were doing any of those versions before. I they have one drink before and them a favour, they were have no idea how that came maybe one drink at half time, doing us a favour of work. But about. It's really strange, there and you don't get that. But the quality musicians that is a guy who has his name on any time that you are in a pub came to New York at that the copyright, and if he did or a bar or that situation. I time, that's what it was all write it then great, but I do mean I just got back from about, that was the attraction. not think that we will ever Northern Ireland where It was Steve Stills, myself, know how two people could drinking is the national David Crosby, Richie Havens, come up with same song, but institution over there, so it's Felix Pappalardi, Eric he gets all the money. In spite tough Weisberg, Clapton coming of that, being connected with over as an unknown, Hendrix that song has helped my I think that the Irish have a started down there, so it was a career. It is still a damn good better attitude to a tune than fucking all-star list. All these song to sing and it still works. we do in england... guys were working for two or Although I didn't get the Some do, some don't. Some of three dollars a set and a money, I certainly got a the places I worked man, I hamburger or something. positive feedback from it. didn't feel this reverence for the singer or the song. They Are these the kind of guys that Is the story about Chas were just loaded. Same thing. would be sitting in your Chandler hearing your version audience as well? and then giving it to Hendrix In the big three you spent a lot Yes, we would all go and listen true? of time in Greenwich Village. to each other. And Yes, absolutely, and that's not Did you play all the legendary furthermore, at the end of a just from me, you can read gigs? night we would have our anything on Hendrix, and Yes, before Cass (Mama Cass guitars and we would go to a Chas and Jimi always Elliot) , after Cass, for years. coffee shop and we would play admitted it. When I met him The Bitter End, the Bottom and trade off and things. the first thing he said was Line, places like that. The "Thanks for Hey Joe.” I saw Night Owl, Cafe Au Gogo; all When did you first hear ‘Hey him at the Speakeasy Club in of them. They were good Joe’? London when I was promoting places to play at the time. Miami, Florida. I can never Morning Dew, and he'd Naturally the legend is much remember the singer's name, it already had Hey Joe, so he more interesting than the fact. was a friend of Freddy was introduced to me and the They were places that allowed Neil’s.....Vince Martin, I think. first thing he did was to thank us to do our own thing, and He was singing two verses of me. I said "You're welcome,” paid shit; absolute piss. They this song and I was working in gritting my teeth, thinking paid five dollars a set, so if the same club as him with yet “You're making millions and there were five guys in a band another group, and I said I'm not”, but what the hell. you made a dollar each, and "That's an interesting song, I But yes, he did acknowledge it, you did three sets a night so mean, not much to it, but did and it was acknowledged in hopefully you made three you write that?". He said "No, books about him. Literally, he dollars. But you could do that's all that I know of it, I and Chas Chandler bought the original material and they think that it's an old record and listened to it. always took an option on you, Appalachian tune. I said "Do Hendrix put his own style to so if you made it they could you mind if I take it and it, but they did the same get you back at five hundred maybe do something with it?", arrangement almost, putting dollars a week or something. he said "Go ahead". So I did, Hendrixisms in it. though, but I never fit into By that time we had so much You were signed to CBS then, that San Francisco scene. To in the can that we had but is it true that you went to be honest with you, man, I recorded, it was virtually an Elektra first? thought it was all boring shit. album, so all of the songs that Yes I had. I was working with But it caught a spark with were on the first album were the same guys that helped to people you know. Then I came not really done as an album. develop Hey Joe and Morning over here and John Peel took a There were two or three others Dew. We were working as a liking to me, but I wasn't a I had done for CBS. that are trio, but it was not working, John Peel kind of guy either, I not on the album. They were but at least I was doing wasn't artsy enough I don't really whatever was lying something. We auditioned for think. John likes what John around, to put ten or twelve Mercury Records in Florida likes, so that was not my songs out. Morning Dew was and they had the attitude that groove necessarily, and I very much taken off that rock-folk music was not going certainly wasn't top forty kind album after Episode Six over to make it. The band was of Guys and Dolls, the Move, here and Simon Dee, who was called The Thorns but we Mud, kind of stuff, yet I made one of the pirate DJs from the never recorded. We made a records. late 60s, started playing my demo and auditioned for version and called CBS in Elektra who said the same Have you any memories of London to say ‘You have this thing. About three months recording your first album? album and you should put it later CBS had signed me as a out’. And they didn't even solo artist to a wonderful Oh, largely frustration. know it. record deal of four singles. Then The Byrds came out with David Rubinson … we were so They did not even know they Mr Tambourine Man and folk- un-enamoured with the whole had the fucking album. rock was it. process that when it came to Nothing changes, and so they mixing the album he didn't missed Hey Joe. They missed My manager wrote a letter to want to do it. "I don't have the putting Morning Dew out first, Time Magazine saying that time for this - I’ve got other and they took the other song The Byrds did not invent folk- things to do." He never told and put it on a sampler, so I rock, Tim Rose did, but who me what he wasn't happy had no single on the album to the fuck cared? By that time about. He did not have... when put out, so that's really how Dylan had done his first album we recorded Hey Joe, we did it that all came about. and Tom Wilson had gone in in one evening with one or two and done Like A Rolling Stone takes, everything was live Rubinson … they did twelve with him. Simon and back then and CBS had that songs and they had six singles, Garfunkel had the Sound of single out within four days. A and B sides, and all the Silence updated in the same promotion men called and said way so that's when it began. By then, the west coast had ‘You don't know what the fuck already been saturated with you're doing, and we’re not But again, being first is not this other version. After that going to do your job for you if necessarily the most lucrative didn't happen CBS really you don't know where the position to be in, at the didn't want to do an album. single is.’ So that didn't work. beginning of the race so to They didn't speak, as you well know. feel that there was going to be Tell me a bit about Bonny That's the way it happened. an album there, so I was asked Dobson? I've had this strange career for to go back in and do one more Again Morning Dew. I came most of my life where we used single, which happened to be out of the folk-country to talk about the underground Morning Dew. It followed up tradition and I did this version scene in the sixties and Hey Joe. My version of Hey again of this one verse I had seventies, and it was very Joe was number 1 in San heard somewhere, I recorded much above ground. People Francisco and number 1 in a it, CBS put it out, and Elektra like Jefferson Airplane, the few other markets. Not many, Records called, Elektra Grateful Dead; if that's but enough for CBS to spend Publishing called, and said underground then. another $500 to do another "You know we have a song single which happened to be very similar to that.” I mean I was underground, I Morning Dew. was obscure, not by choice "Oh how similar?" fucking jive kiddie, and there McCartney writing his "Well similar enough," and so was a guy doing the lights, ‘scrambled eggs’ and George they sent us a version and we who was a film producer and going "Mmm not quite. How sent them a version, and I’d he needed to make some about Yesterday?" and Bing! never met Bonny Dobson. I'd money. He'd done some films - True story. certainly never heard her do it. John something, that's all I They said, "Well yours is can remember - he was a very Then you did a second album different enough," so they nice guy. He was listening to with CBS, ‘Through Tim Rose decided to give us co-writer/ this and he says "Tim, can I Coloured Glasses’? authorship on the song, which say something?" And I said I called the album Through happens a lot when you are "Sure, John, go ahead.” Rose Coloured Glasses. CBS in dealing their wisdom, decided to call it with traditional material. "Well, you know, I’m listening Through Tim Rose Coloured to you do that song and I had Glasses. Clive Davis said "Hey, So it was never like me and an idea that if you did it as a we got a little action on Bonny sat down and Bonny man, and did a minor kind of Morning Dew and Hey Joe, so said "Gee I have this.” No, it thing rather than a major, it let’s see if we can get Tim to do was never like that. Not like I might something, and I was out on write today. And Bonny, for be more effective." And that's the West coast.. many years, was very bitter exactly how it came about. So about that. I don't know why. I started doing it that way and So Clive still had faith in you? She got most of the money, by it became a whole different Clive did have faith in me, but the way. I didn't do it. It song. Sometimes my guardian he had no idea what to do and wasn't my idea. This was not angel tells me to shut my how to do it. I remember at a something that I stole from mouth and open my ears and party he said to me, "Come to her. I know what I've made that was one of those times. Atlantic because I can make and I know what she’s made you a star.” Of course, when I and she’s done very, very well I listen a lot more now than I left C.B.S and went to off it, although nobody’s ever used to. I mean, my way has Atlantic, Clive was full of shit. heard her version. been so good. I’ve been so He didn't mean that at all. successful so far. My way is Clive had this thing, you Actually, we've just obviously the best way, quite know, but at the time it was reconnected. We’re supposed obvious really, yeah! funny. to meet for dinner. She’s mellowed out a little bit. She So a lighting guy told you how Clive had three frustrations at wants to make another album. to arrange it? that time which were myself, She has a little acoustic label A lighting guy, but who had Melanie and Aretha. None of and she called a friend of mine also produced films and was us had hits. Couldn't move any and said ‘Do you think Tim very talented in his own way of us, and Melanie went some would have anything that and happened to be doing place else and had a hit with might be appropriate for me?’ lights because he needed some Ruby Tuesday, Aretha went to I thought that was very sweet, money. Atlantic and they took her very sweet. So I said ‘Yes, let’s He knew of what he spoke. back to her roots and she did meet and we’ll write something And he also had, John, I’ve basically gospel, but Clive was together. Who knows? seen him a number of times trying to make her a black since, he had my interest at Barbra Streisand and it wasn't ‘Come Away Melinda’… Where heart. It was very valid. He working. He did it eventually does that come from? wasn't saying I want a with Whitney Houston, but That's not mine. Freddie production credit. It was a not with Aretha. Hellerman from The Weavers, sincere thought from one he wrote it as "Mummy, creative person to another one, And of course I was the third mummy come and look, oh you know? one in that triangle that Clive mummy hurry do, There’s was very frustrated about. someone in a pretty dress who A lot of stuff comes about that Had I been involved with that is all done up like you." It was way. Sometimes a friend two years later, say signed in like a kiddie’s song. I heard mentions to a songwriter 1970 rather than '68, the this song and thought ‘That's a "Have you thought about corporate mentality had nice song, but, ooh, that changing this to that?" Paul changed. The whole idea of super groups, the whole idea of my definition it was a Cocker did. He got Cocker guys interchanging and successful evening in that they down when I couldn't do it and playing on each others records paid me money to come and he did a great fucking had hit. It became acceptable. sing in the club, and the owner performance. And Denny Then I could have used John took something of a chance. I Cordell, died last year, but he Bonham when I recorded. It mean, he could have had 50 was working for Essex Music would have been acceptable. It people here, if that is in London and he had would have been the thing to successful for me on this level produced that track, just as a do, and it put all the studio if I can make the kind of track. It just didn't have a guys out of work. The young money tonight, I don't know voice on it. guys were really doing it and how much it was but it was they became the studio guys. more than a dollar less than And why didn't you do it? In 1968, though, that was not $100,000. Is success the goal? Denny worked for Essex the case, so most of the Not in itself, it never can be, I Music, so he was not an producers in the late '60's were can’t write music with the idea employee of C.B.S and I traditional producers that that this will be a hit song or couldn't do anything on C.B.S grew out of the '50's and early be "the thing". I only write the that wasn't originated by '60's. best I can do. I only perform somebody else on C.B.S. So the best I can. So much is out you’ve never heard of my next From then on, the Denny of my hands. single but Cocker’s single was Cordells and the what-have- No1. I wouldn't have sung it yous started to take over the Who determines that a Dylan the same way as Cocker, but it music business, and music becomes a poet and a Tim still would have been a hell of became what it is. Pink Floyd Rose doesn't? I mean who an idea. grew out of that.The Who, makes determinations? Is Jefferson Airplane grew out of Dylan’s poetry more valid? I Tell me about the single ‘I that. But at C.B.S at the time don't know. They certainly Guess It’s Over’ which you did business was too corporate and couldn't tell you but there is a in England with somebody I wasn't the kind of person certain ability that some called Mike Smith . they could do anything with. I writers and performers have to Mike Smith, yeah. I was here was with the wrong label, and hit a chord with the public and in England and CBS wanted to I was stuck. they actually carry it off. A lot do a single with me. They of people have hit records but weren't getting any help from Clive Davis sat down with me no career and a few people CBS. New York. They got after I finished my second don't have a hit record but do permission from CBS in New album and said "Tim, I don't have a very nice career. I am York to do a single with me know what the fuck to do with somewhere in the middle. but they were given a budget you. I know you've got of like £500. Mike Smith had something. I've got the largest I’ve never really had a hit so just produced Hi Ho Silver record company in the world I’ve never really had that idea Lining for Jeff Beck (N.B. and I don't know how to sell of a come-back tour because Actually Mickie Most did your records." That was nice to I’ve never really been a that!!!) so they thought ‘Well, hear from a guy like that! He number 1 record seller here, he is a hip producer’, so Mike said "Why don't you put but then Joe Cocker is from Smith with whom I must have together a group like Janis Sheffield and sold millions. I had no more than two did?” I mean that's what Janis mean, I was given Cocker’s conversations, asked me what did, she found Big Brother, she crack before Cocker. I was songs I had. Well I had no idea tried to make it on her own given it by Denny Cordell, a of what a single was, I still but it wasn't happening, so she friend of mine, but I couldn't don’t, and Mike certainly got this group, but who the do it because Denny wasn't on didn't present me with any hell's Big Brother? CBS So Denny said "I know songs that made sense. this kid up in Sheffield who Was success your aim? has got your kind of voice and So I had I Guess It’s Over and I think largely that depends on I might get him to do it.” That on the other side a thing called what one determines as was Cocker. Oh yeah. He had Hello Sunshine which they success. People like Stuart who done a backing track with my flipped. When you hear it, why runs this club have had a kind of voice in mind and he not, but the studio guys were successful evening tonight, by played the exact track that literally looking at their watches. The fucking guitar you wont play it?". But you book that he was proud of, and player said, "I can’t do it can’t force them, you can’t they didn't even listen to it at again." force them. the singles meeting. So CBS put it out amongst the fodder I said, "Well, it’s not right.” It depends how you define a and that was it. One single hook with Al and that was it. There "Oh well, that's your problem." Actually, sung by Harry was just no way. Al couldn't I mean it was that kind of a Chapin, there’s not even a play the corporate game. One session. Herbie Flowers and bridge to it. "American Pie" I staff producer got his stuff that group. You remember mean, it had a hook but there pushed another one didn't and them? They thought they were are different kinds of hooks, I that was it, then. god’s fucking gift, but they mean "Baby I love you, I love weren't making me rich - you, I love you, Baby I love Was he a good producer to wrong guys. I’ve got five you." That's a hook but then work with? minutes to tell them, but they there’s a "dada" that's a hook, No not particularly. No he .. don't know. They are jazz so all these things are crafted. Al was interested in Al and he musicians, they don't It’s by gosh or by gum. Paul wasn't particularly interested understand what's going on. Simon started off his career in me. He wasn't particularly a But those are learning things. essentially as a folk artist "I’m fan of mine but I was his first There is all this perception gonna write my songs and sing act and he wanted to make a that art is magic, that it them the way I want to." good job so he produced a happens, you know? It just record. He hired the best guys, happens. People like Oasis "OK, Paul, then you won’t he got an arranger, and that today, Traffic and all that in sell any records." And CBS was that. Al and I never those days and anybody in- having the one-track and became close friends. He’s a between - Abba and all that, taking guys in, while he’s over tough guy with no humour. it’s not true. It’s very much of here, they took a bunch of a compromise business making guys in and put on organ, bass, He seems very talented but a records. Any artist will tell you guitar and it became Sound Of very odd character how difficult it is to spot a Silence, which had been put He is very strange and largely smash record. out before and died, died a humourless too. A lot of his death. And Paul’s going "Oh, stuff is pornographic. I was talking to Hugh Murphy you can’t do that to my song." who produced Gerry Rafferty, So what happened after you left his song was number 2 in "Paul you are number 1. You CBS? England but Capital Radio have just sold 300,000 would not play it in London records." He keeps doing it. I went to Capitol, and Capitol because it didn't have a hook. He’s not stupid. It was purely made the same fucking an accident. If that had not mistake as CBS had done. You mean they couldn't hear happened, then there was no the saxophone? Simon and Garfunkel. I was signed by a guy who was That's what Hugh said. I think old music school, same God what Capital meant was ‘It How did you come to work damn mistake. I was produced doesn't have that lyric that with Al Kooper? by Shel Talmy, the same people can sing along with. Mistake. Al had been hired at fucking thing. He brought in The song sold millions CBS as a house producer. He those assholes that had done throughout the world but had already done the Blues the single. You know? The Capital would not play it not Project and Blood Sweat and Herbie Flowers … the studio because it was bad but that it Tears and left the group, and guys. Can you imagine sitting didn't have a hook. Now that's CBS hired him. So I was his there trying to get feeling? I do a successful record where first project. In his book, he feeling stuff. You need guys you've got BBC 1 playing it wrote a book about the music like Dave Porcero. I wanted to every hour and every other industry, he said that when he use people like Chris Stainton station and this one station came to his first singles on keyboards, guys who says it doesn't have a hook. meeting with my single, he played my kind of stuff, but Just imagine how frustrating knew that it wasn't going to be no. Even on Capitol we still that is: "What do you mean it on the air. He walked in with had the same studio guys that sold 300 million records and this single, which he said in the gave us a very white-washed organ he used a lot. Through a Murphy who had just finished production. series of friends, I got Jerry Rafferty, great album, connected with Gary who was Baker Street, so Hugh and I Where was it recorded? working as a backing musician, got together with John and we Here, Ireland. (Island?) Its and I explained the story and did The Musician album which just ... I couldn't, you can’t say he said "Yeah I’d love to was given to Atlantic when to a guy “That's the wrong produce it.” Anyway we went Dave.Dee Dozy, fucking.. well, feel.” Feel is something that is to Olympic Studios in London whatever, he was running difficult to communicate. It’s and I came back to London Atlantic. I tell you my record like, even now, when I record, and stayed at the Playboy career has been totally there are still a lot of guys I Club and did this album with meandering. I can understand wouldn't use. They might be Gary running in and doing 3 why people think I haven't the best, but they are not hours with me and then me done stuff. right. being at work for 6 and him running off to use my 3 hours Is all this an unhappy memory The Capitol album came out to do something else for for you? and the thing I remember himself. He was making a nice It’s frustrating. And on the about that is that Arty Mogul fee and really not being into it other end of the coin is that, at … I was sitting in his office at all. that stage of the music wondering why the album business your choice was that hadn't done anything, and Later, Mickey and I became you either did it the record Arty says "Yeah I’m looking friends and he told me Gary company way or you didn’t do at sales and we shipped out had really funked me over on it. You could have your 7,000 singles on Message To the album and on this and artistic integrity but they were You, and we got 12,000 that, but the album came out not going to pay for it. They returns." I said "Arty how did and it was actually my only say, “If you are going to make you get back 5,000 records you album up to that time that a record, you are going to didn't even send out?" He said actually had a hit single. We make it our way or you are not "I’m trying to figure that out did "Hide Your Love Away" going to make it.” But the myself.” So that was my and it actually hit the charts music business up until that Capitol experience. at number 100 and then 98, 94, time was like that. It’s still like 89, but the record company that in Nashville, still not Sounds more like a Roulette didn't know where it was much individuality. It’s Records deal showing, so it died, died a cookie-coloured kind of stuff. The Big 3 was on Roulette. death. Well, this was in Don’t rock the boat down You wouldn't ask him, it was America. By the time they there man, or they throw you just ‘end of story’. finally got some sales through out of the boat. it was like Charlotte and places Then somehow you got to like that, and New Orleans. You’re all right if you wear the Playboy Records… They were so untogether that right hat… That was because an English it was dead, there was no That's right. You fit into that guy had run across me called second album. mould, it will be interesting to Jonathan Rollins. His brother see if this thing Nick (Cave) was working for Hugh Gary had gone on to and I are trying to do Hefner’s new recording label, something else. I toured with currently has any legs to it, Playboy. So Jonathan and the album hoping to revive it. because Nick makes very Stuart got me on Playboy I got a couple of good collective records. As you Records. I was the first artist publicity punches out of it, but know, he’s not known as a Top they signed and they asked nobody played it. It just died. 40 kind of guy. He doesn't ‘Who did you want to produce After that I didn't have a deal make hit singles. He doesn't the album with?’ Well, this and the same guy and his even write hit singles and yet was the first time somebody brother had left Playboy and he has a very nice career and had asked me, so I had become they came back to England. his albums do well. He has enamoured with Gary Wright He called me and said he was pretty much to his own self and I thought his work was working with a young been true, but his career has very compatible with what I producer and I should come been on an independent label, was doing. It was an over and we could try again. where his albums haven't cost interesting sound, that sort of The producer was Hugh much and he has slowly but surely built up to ten albums People have heard about this able to take me and do some and built up a very large and said "Oh you and Nick are very nice things. So it’s the following doing his thing when going to do an album question of … always in the he has been allowed to do it. together." Yes, but its not a music business there’s the He’s good at it and there are a duet. We’re not singing music and the business. Your lot of guys who, since the late together. Singing together was readers are reading Mojo '60's early '70's, have done that never even discussed. magazine which is a business. very well, because there has You can buy ads in Mojo. become a branch of the music Do you feel you’ve been dogged That's how it stays alive, and business that allowed you to by dickhead producers? they talk about music, they do that, and will say "we’re Well, I am partly responsible talk about the music end of it, not CBS Records, so we don't too. I wasn't totally passive. not realising probably that it is have to sell 50 million pieces, So I have a part in that also, about the business. People you know. We’re quite happy but I did and they were main who appear in your magazine with 5,000 to get you started, producers Shel Talmy want to sell records, or have and well build to 15 and 20.” produced The Who and The sold records. Whatever. But now, like, a small Kinks, and he was supposed to independent sells 20,000 know David Rubinson went on There’s no gig without pieces. In pounds that's a lot of to produce a lot of hit stuff? customers. There’s no working money, but it’s not a lot of The guy who did Through Tim or doing your own thing unless money for Elektra or Warner Rose Coloured Glasses, Jack somebody will give you a Brothers. I mean they sell that Tracy, had done a number of venue for it, and they can’t in a day on one artist, so the hit things. Gary Wright had give you a venue if nobody economy and scales have produced a number of hits and shows up or they can’t pay the changed somewhat. went on to have hits bills. So it’s very much a afterwards. Hugh had just business. Before you have the Have you got much new come from doing Baker Street. music you've got to have the material? business. The room here - I Oh, I’ve got enough new I did an album later, The mean he could do very well material to do two albums. Gambler, which was finished selling beer and putting in Joe Even as a singer/songwriter in the late seventies but didn't Jones so I need him and he though, if somebody comes up come out until the nineties, needs me. to me with a better song, like I and that was produced by have ten songs and you come Pierre Tubbs who had just It’s the same with record up to me with one that's better come from Right Back Where companies. I need a record than those ten songs, I’ll do I Started From with Maxine company. In order to get in your song, because I like to Nightingale and supposedly there you need to have a sing. I’m essentially a singer had his finger on what was record, and the record needs too, so Nick and I won’t be happening. These were all the radio station and the radio doing solely Tim Rose name producers, and you've stations need the records. material. He said in an got to have name producers - Everybody needs the artists, interview recently that he has that's bullshit. so you have to have the a picture of what I should realisation that it’s an sound like. He told me once I think now it’s that you've got intertwined, symbiotic "Tim this is the album I would to have the right producer business. You can make hit make with you if I could sing rather than a name producer singles and try to craft hits like you," so that was very Correct. Rick Rubin is right from Boyzone or the Spice telling about him, and it could for certain people but you Girls. That's one way to do it. be interesting for us. wouldn't give him Oasis. It’s a Or you can craft yourself to be different thing you know. The who you are and look for a I’m intrigued by this business now has expanded niche. It may not be Radio 1, collaboration such a lot and there are right it might not be Capital but I am too. people who might not be hit there has to be a niche. It’s like single producers. Babyface Nick Cave has done this very I respect his integrity as an back in America who produces successfully without having a artist but I don't much like his smash after smash after smash hit single. I mean, ten albums voice but certainly not right for me, and no hit single? That's but yet Rick Rubin may be almost unheard of. Same with music, same with I’ve heard great versions of the Not on that label… films - the business. But Coca-Cola theme by acts like It’s not unheard of on that there’s enough around in the the Supremes… label. It would be completely business today to accept a Sure. I did a bunch of Pepsi impossible to have done on very large broad canvas, you stuff. I paid for my college Elektra or Warner Brothers, so know? There’s room for Nick education with Wrangler. You the business end of it is that Cave, Oasis, Spice Girls.. just go and write a cheque you have to realise this. I every semester on Wrangler. didn't realise this. I always Maybe even Tim Rose? "Here comes Wrangler, he’s hoped that talent will out. Be Yeah, Tim Rose, yeah, there one tough customer,” Bing! yourself and the world will is. Not on every label and not Nobody knew who I was but beat a path to your door. Well, with every producer and not at the cheques came in every yes and no. It depends whether the business feels that there is any money in the self you are being. Dylan made it as a singer-songwriter because other people recorded his songs and made money with them, therefore Bobby became this great legend. Not because of his records, but there was money in his songs, so whether he is the anti-establishment or whatever we want to call him, Dylan is there because of his money. Paul Simon is there because Neil Diamond got Frank Sinatra later on down the road.

The gratitude that these guys show, the guys that are really successful, and the women, the groups that stay around the every radio station, but there’s Monday. Great. Oh I’d do that longest, like the Rolling room. still. It’s the kind of financial Stones, they understand this. support you need to be able to They understand that the You did some commercials, for say. “Oh, I’ll sit here and write press is important, radio Pepsi. this cos I have this over stations are important, the No, it was for money. there.” promoters are important and that if everybody makes Do you still sing any of them? So I don't have to do the bad money off them, then they also If you asked me to I would. deals where I’ve no control, make money. So the smart Damn right. The money’s good you know? I’ve got this man. I groups really try to see that and I’m a singer too. The can wait until something good everyone is happy. They know producer - you walk in and you comes along. That's the ideal there’s money to be made. sing. You don't have to write situation, because I still have it. I don't have to produce it. the cheques. I would certainly, The other groups think they I’m not responsible for it, and if someone over here asked me, are the cat’s arse and they are the money’s very good, I'd be there in a minute, no the ones that don't last as long, nothing wrong with it. I mean, worry. Voice-overs, you'd so it’s not an artistic sell-out to if you're not earning money better believe it. It’s all a realise it’s a business. It’s just doing your thing you've got to discipline. It’s all part of what a reality. I mean, if you are a earn money doing something I do. It’s a hell of a lot more painter, you've got to get down else, sell cars or whatever. part of what I do than working to the old gallery, get your as a stockbroker. paintings sold. You've got to get them sold somewhere. Which you did for a while… Yeah. I wrote scripts last year that the man at the end of the than this to wrench their for the circus back in America. room inspired Jimi Hendrix to attention away from the Ringling Brothers Circus. I slow down Hey Joe, co-wrote bottom of the glass. He tries a also wrote some scripts, they the classic Mornin’ Dew (since country standard, Eat Drink did some T.V specials, and I covered by the Grateful Dead, And Be Merry, before ending was one of the scriptwriters for Jeff Beck and more), and sent with an atmospheric Hey Joe them. I loved it! chills down the spines of the which is accepted well enough cold war generation with his to merit an encore. Can you turn your hand to post-holocaust melodrama, anything, if you enjoy it? Come Away Melinda. “Thanks, this has been a real Well, the producer called me gas,” he says in tones which and said "You are a writer, will Rose adjusts his spectacles and suggest he’s thinking of you write something?" launches into Gambling Man, hydrogen sulphide. Like a the first of many songs trouper, he offers up The "Well, I really write lyrics for concerning women who have Beatles’ You’ve Got To Hide songs.” wronged him. His voice, a Your Love Away and, finally, throaty gargle somewhere amid tumultuous applause, “But why not try this?” between Barry McGuire and cheers and whistles, The Slug Richie Havens, remains intact. And Fiddle is his. Wisely, he "Oh, OK." So I handed them Otherwise, he’s older, jowlier doesn’t reappear. in and he said he liked it. and greyer. His features are etched with the lines of a life Interview by Johnny Black for "There’s the money. Do it spent hovering on the edge of Ptolemaic Terrascope, 1997. again." So I got a credit, major success, but it’s Written By Tim Rose. Toy unmistakeably the same face Sadly, TimRose died in Story On Ice, that was one of that peered from his mid-60s September, 2002. them. album covers.

So now you are based in Come Away Melinda crops up London early and, despite unwanted Yeah. I moved in for a while. feedback, it remains chillingly Some people I had been stark, effective enough to meeting, and IBS, it was silence the loud-mouthed forty- suggested that I stay and I somethings at the next table. said. “Well, I can. I’m flexible Rose performs with conviction, so, yeah, I’ll stay for 6 or 8 but much of his charisma months and see what happens, comes from disarming I can always go back when I between-song banter which get back into voice overs.” undercuts the melancholy of “I’m not quite sure what I’m his material. A coughing fit at gonna do,” growls craggy the end of Melinda allows him troubadour Tim Rose as he to tell of a fan who asked if he fingers that first chord on his had anything new coming up. trusty vintage Martin acoustic. “I said, ‘Yeah, phlegm.’ and he “We’ll kinda wing it as we go said ‘Really, where can I get along.” Accompanying it?’” guitarist David Clarke grins wryly. Turning the venue’s He dedicates Going Down In lack of lighting to their Hollywood, about his days of advantage, the pair stand in alcoholism in L.A., to Hugh pools of illumination directly Grant, then announces a under two Chinese hat-shaped forthcoming collaboration with pendant lights, which cast Nick Cave before starting erratic shadows on their faces. Morning Dew whose first line attracts a ripple of recognition. Most of the 300-strong His dozen or so songs rarely audience jammed into The Slug accelerate beyond snail’s pace seem neither to know nor care though, and the serious drinkers of Sheffield need more