Bubbling under all this was the Hawkwind connection. After realising, towards the end of 1980 that Lemmy was the bass player in Hawkwind for 3 years, I set about collecting those albums which featured him, and this further marked his influence on me as a bass player. Particularly via the 'Space Ritual' live album which encapsulates just how good a bass player he was; revealing a more extensive and markedly different sound and style in many ways.
Hawkwind were, and remain to this day, a unique influence in rock music that has seen the band journey through a fascinating array of line-up changes and resulting variations in style. Browsing their record collection as an 18 year old was a somewhat daunting experience. Even in 1981, before the overwhelming proliferation of live albums, compilation albums, and related off-shoot albums that are available these days; There seemed to a hell of a lot of Hawkwind albums out there to be collected.
But although Hawkwind were firmly established this year in my musical psyche, their absolute domination wouldn't really come to fruition for another year, after I first saw them live, and began to pursue an active interest in the contemporary version of the band.
But for now, I was focussed on seeking out what is now thought as the 'classic period' of the early to mid 70's, when Lemmy was their highly original and innovative bass player.
Whilst my appreciation of Led Zeppelin had levelled out somewhat after they disbanded in 1980. Their back-catalogue of albums was still important to me whilst learning my craft as a bass player in 1980 and '81. The situation was similar as regards the Canadian rockers; 'Rush'. But simultaneously with the ascension of Motorhead and Hawkwind, began the decline of Rush in my affections. The previous year's album release of 'Permanent Waves' showed the first signs of a move towards a more commercial style during the 1980s, which became far more evident on their 1981 album; 'Moving Pictures', which released in February. I was very disappointed with this album, and dropped Rush like a stone. At this point, their previous 7 albums; which I had in my collection, were still important to me. Particularly 'Hemispheres' and 'A Farewell to Kings' which best represented Geddy Lee's influence as a bass player. But as my musical consciousness was gradually encompassed by the Lemmy influence of Motorhead and Hawkwind.... For me, Rush had faded in obscurity by the end of 1981.
Meanwhile, developments in the real world were moving on. I was armed with a fine bass guitar and a good little practise amp, which I put to good use for the first 6 months of my life as a budding bass player. During this time, I had learned by ear; playing along to records that I wanted to learn. Top of the list was Led Zeppelin's first album which was always a great favourite. Soon enough I could play most of the way through it, and I was particularly pleased when I mastered the rolling bass-line on 'How Many More Times'. Similarly with 'Rush', I learned to play along to most of 'Hemispheres' and 'A Farewell To Kings', and felt particularly pleased to have mastered such bass-lines as 'Xanadu'.
A little later I would be tackling my first Lemmy bass-lines, But in the meantime, on the local rock scene centered around the Masons Arms, I was still going to 'Savage' gigs as a roadie, and watching and learning from them and other bands, as well as meeting new people on the scene.
One of these bands was a band called 'Lazee'. I was aware of them from having seen them play at the Masons early on in the year, and by chance, I met up with someone I knew from my school days, who ironically had become a roadie for Lazee.
It eventuated that Lazee split up soon after I had seen them, and it came to my attention that the one of the guitarists, Andy Ashley, had teamed up with vocalist Gerry Harley, and was looking to put together a new band, requiring a bass player and a drummer.
Fortunately at that time, I had just turned 18, and recently started a new job in a factory, which resulted in a considerable increase in wages, making it possible for me to buy a bass rig suitable for using on stage, and playing with a band. Even so, this was expensive equipment, and it had to be done in two stages. The Marshall 100w bass amp came first, and the Peavey 2x15, 'Black Widow' bass cab came a little later.
In the meantime, A meeting was arranged in a small rehearsal room upstairs room at the Masons Arms with ex-Lazee guitarist Andy Ashley, and singer Gerry Harley, along with Lazee band manager Trevor ('Georgie') George.
I was a little nervous, and felt a bit green around these guys who were a couple of years older and more experienced than me. I also felt a little self-conscious about my relative youth and shorter hair; especially around Andy who really looked the part of the Heavy Rock musician with his longer than shoulder-length hair. But I set off for the meeting, armed with my trusty Rickenbacker copy bass, determined to have a go.
I think it's fair to say that Andy was a little distant at first. I got the impression he was disappointed that Lazee had split up, and he found it hard to imagine anybody replacing the previous bass player, Russ Haywood, with whom he was used to working.
However, we played a few numbers and I did ok; and Andy gave me a tape of a Lazee gig which had been recorded through a mixing desk, telling me to learn the songs; and before any decisions were made, we would have a further practise the following week. I spent the week learning those songs, and making sure I knew Russ Haywood's bass-lines in order to satisfy Andy, who was going to continue to use some of the old Lazee songs which he co-wrote.
As it happens, Russ played some great bass-lines which I was more than happy to pinch! And I had obviously done good enough on the second practice; as after a little encouragement from Georgie and Gerry; Andy gave me the go-ahead for the job of bass player. We still needed to find a drummer at this point, but nevertheless, I was in a band!!
This was obviously a tremendously exciting time for me. Within a year, I had got a bass, learned to play, and had joined a rock band. And to cap it all off, I had a new, better-paid job, where I was allowed to grow my hair as long as I liked!
A couple of weeks later, we found a drummer called Paul ('Gilly') Gilliat, and we began to rehearse in earnest; eventually at a local youth club every Sunday morning.
As my confidence grew, I began to put bits of my own bass-lines into some of the songs; And although at this point I hadn't yet gotten to the stage of writing anything of my own, I was more than happy with what we were doing. We worked on a set which comprised of re-vamped versions of Lazee songs, and a couple new numbers co-written by vocalist Gerry Harley. Mixed in with these was a selection of cover versions of songs by Deep Purple, Status Quo, and ZZ Top, amongst others.
Andy and Gerry had decided to call the band: WHITE HEAT, and soon, we began to do a few gigs, and recorded a demo tape of three original songs. Initially, I had to borrow a speaker cab for my first couple of gigs. I had bought a Marshall bass amp, but had to save up like mad for a few more weeks before I got my 'Black Widow' bass cab.
White Heat with roadies and manager, pictured on the roof of the Mason's Arms in 1981.
Band Practice.
My first ever public performance was a gig at a local pub called the Talbot Inn. I was really nervous, and I stayed in the background, letting the experienced Gerry and Andy take the limelight. But the audience responded well for the most part, and my confidence grew as we did a few more gigs; And soon enough, another little dream came true when we played upstairs at the Masons Arms, where a year before, I had watched my friends in 'Savage' play in the same room; dreaming of day when I would also be up there playing to the crowd. Now I was in a gigging band, and we developed a bond of our own over the next year or so. Andy and I became good friends, and I look back on 1981 with happy memories of a great year.
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