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EDSD 2028 PA AKAN&TROS booklet 27/1/09 12:41 Page 2 EDSD 2028 The Songs Of PETE ATKIN&CLIVE JAMES 32 1 EDSD 2028 PA AKAN&TROS booklet 27/1/09 12:41 Page 4 DISC ONE Barry Morgan – drums Ray Cooper – percussion Pete Atkin’s albums on the A King At Nightfall Clive Baker – trumpet, flugelhorn Edsel label: RCA SF 8336, April 1973 Ralph Izen – trumpet Beware Of The Beautiful Stranger…plus Nat Peck – trombone [EDSS 1029] Bill Geldard – bass trombone Driving Through Mythical America…plus Dick Hart – tuba [EDSS 1030] Alan Wakeman – tenor saxophone, flute A King At Nightfall + The Road Of Silk Bob Sydor – tenor saxophone, clarinet [2 CD] [EDSD 2028] Mike Page – baritone saxophone, clarinet Secret Drinker…plus + Live Libel Howard Ball (leader), John Trusler, David [2 CD] [EDSD 2029] Woodcock, Rita Eddowes – violins Catherine Finnis, Leonard Stehn – cellos Visit www.demonmusicgroup.co.uk for the Edsel catalogue and the many other fine labels PA: I started making records in 1970, almost by that make up the Demon Music Group. accident. David Platz at Essex Music was a music publisher and a pioneer in the idea of Original sound recordings made by Sony Music independent record labels – now commonplace , Entertainment Ltd. Sony Music Entertainment Ltd are p of course – and he gave me the chance to record the exclusive licensees for the UK. Disc 1 1973 Sony Music Entertainment (UK) Ltd. Disc 2 p 1974 Sony some of the pile of songs Clive and I had been Music Entertainment (UK) Ltd. © 2009 Demon Music writing since we met at university. Those Group Ltd. Marketed by Edsel, a division of the Demon recordings – intended really as demos – became Music Group Ltd, London, W1W 7TL. The Demon my first album (Beware Of The Beautiful Music Group is a 2 entertain company. Manufactured in Stranger). The reaction to that was good enough the EU. Lyrics – Clive James to persuade him to invest in a slightly more Project co-ordination – Val Jennings Music – Pete Atkin ambitious second LP (Driving Through Mythical CD package – Jools at Mac Concept America) in 1971. By then we were getting some Arranged and conducted by Pete Atkin CD mastering – Alchemy good press, and I was gigging (solo) at folk clubs Produced by Don Paul for One Way Ephemera courtesy of the collections of and colleges, and getting some good radio Productions Pete Atkin and Clive James exposure thanks to sessions for the John Peel Engineered by Roger Quested CD front cover main photo and strapline photo – Show on BBC Radio 1 and the like. Recorded at Morgan Studios, Willesden, London Sophie Baker For the third album under my Essex NW10, in May 1972 Huge thanks – Pete Atkin, Clive James, contract, they were able to do a deal in advance Overdubs recorded in July 1972 Simon Platz, Steve Birkill and Caroline with RCA Records, home of Elvis, Jim Reeves, Photography by David Levin Cook David Bowie, and many successful others. One Pete Atkin – vocals, acoustic guitar, piano big plus this time was that I was able to book the For everything (and we mean everything) relating (on “Hypertension Kid” and “Thirty Year Man”) same musicians for all of the basic rhythm tracks, to Pete Atkin’s works, visit www.peteatkin.com, Chris Spedding – electric guitar to give a consistent sound and feel across the but make sure you’ve got plenty of time to spend! Mike Moran – keyboards (except whole album. And, boy oh boy, what a group they Then of course, you’ll want to visit “Hypertension Kid” and “Thirty Year Man”) were. These guys were all so good that each www.clivejames.com 2 Herbie Flowers – bass guitar finished master took only about an hour in the 31 studio. 2 31 EDSD 2028 PA AKAN&TROS booklet 27/1/09 12:41 Page 6 12. Payday Evening 5.56 lovely, throwaway seeming ease with which Pete Like most musicians, I set the last group of lines told me all over again hardly ever listen to my own Recorded on 12th July 1973 that I had picked the right guy. recordings once they’re Pete Atkin – vocal finished, and even then with Mike Moran – piano Of late I try to kill my payday evenings In many an unrecommended spot no great pleasure except in Dave Wintour – bass guitar the playing of the other Terry Cox – drums Curiosity accounting for a little Loneliness accounting for a lot musicians. But long gaps Paul Keogh – electric guitar between hearings mean that PA: Here’s another one of those stories with a The girls who pull the handles force their laughter when I do get around to beginning and an end but no middle. The middle The casual conversation’s not the best listening to them again – like happens during the instrumental, and you have to Indifference accounting for a little now – they instantly bring figure it out for yourself, I’m afraid. My guess is it Unhappiness accounting for the rest back a strong, almost physical probably has something to do with one of those And the gardens of the heyday in Versailles memory of the details of girls who pull the handles. Not that it matters. And Pompadour’s theatre in the stairs those sessions. There was quite a bit of to-ing and fro-ing Should be created in my magic eye CJ: While Pete was recording between me and Clive on this one, as I From a jukebox and a stack of canvas chairs I would often hang around the remember, cutting bits, adding bits, changing But somehow we have failed to come through studio, feeling worse than bits, changing the order of things. And Clive The styles are gone to seed, no more parades useless but hadn’t written it with a middle eight. I thought it There seems to be no talk of me and you fascinated needed one musically and so I decided to give No breath of scandal in these sad arcades with the the ‘Versailles’ verse and the ‘Formica’ verse a techniques. Concerning us there are no fables different tune. But my No brilliant poems airily discarded CJ: Looking back, I can see that my days of being personal Just liquid circles on formica tables Pete’s music was getting to down and out in London added up to a blessing, isolation had A silence perhaps too closely guarded where it could handle anything, even though they terrified me at the time. I its downside: so I could hit him with lyrics learned what it meant to do a hard week of Outside a junkie tries to sell his girl I sometimes that drew on any degree of manual labour, and just how sweet a pay-day Her face has just begun to come apart felt helpless emotional turmoil and be fully evening can be. So there’s a solid memory of Look hard and you can see the edges curl to influence confident that he could common experience at the song’s base, before Speed has got her beaten at the start events. A big integrate them into song. Since the artier references get piled on top of it. recording And what care these two for a broken heart? the work of art that makes Madame de Pompadour really did have a little company coherent sense of things falling theatre built under a staircase in Versailles. I think The lady’s calling Time and she is right imposes its to bits has always been my the listener can figure out roughly what’s going My time has come to find a better way own dynamics that can ideal, the emergence of these on in such moments, but I set Pete an unduly A surer way to navigate at night be hard to buck. The cover picture of A King At albums was a cause for satisfaction during a tricky task with some of the wording: “…gone to The poetic age has had its day Nightfall was shot in Docklands and looks awfully troubled time in my life. A nagging sense that I seed/No more parades” is begging to be In midnight voices softer than a dove’s corny to me now. It felt uncomfortable even at the didn’t know quite what I was doing was misheard no matter how precisely it is sung. My We shall talk superbly of our lost loves time. My beard wasn’t anybody else’s fault, but I compensated for by palpable evidence that I lucky strike was the phrase “In midnight voices”. I thought the setting was a bit, you know, Mickey must have been doing at least something right. still have no idea where that came from. The All songs published by Bucks Music Group Ltd. Mouse. Bleak emotions in an abandoned 30 industrial area? I mean, please. But there was no Pete Atkin and Clive James, 3 arguing with some of the results on the disc itself. November/December 2008 30 3 EDSD 2028 PA AKAN&TROS booklet 27/1/09 12:41 Page 8 1. Between Us There Is you can’t see the cloth. The imagery in the lyric is early snowfalls: I had to make them up. I didn’t not all from my childhood. My tree house in the see snow fall before I came to London. When I Nothing 4.15 back-yard peach tree consisted of two planks on first saw The Circus I was knocked out by the Recorded on 15th May 1972, which I would perch for hours, at the dizzy height suggestive power of the circle on the grass.