I have two main memories of The Ramones. One was seeing them perform at Barbarellas club in Birmingham which was inspirational. The other was later when I was in ‘the music biz’ and having dinner in London with Ken Kushnick of Sire Records. It was the days of the first mobiles the size of bricks. Ken’s phone goes, “Ok” says Kenny “just back away and walk quietly out of the studio saying nothing”. The call is not much longer. “Who was that?” Says I, “Joey Ramone” says Kenny. “They’re in the studio in NY with Phil Spector and he’s just pulled a gun on them”. “Oh!” says I.
“You can move to a nuisance”
Those words chilled me at the time I heard them in 2009 as they were from a senior officer in BCC’s Environmental Health Department. They were used by one of the panel members representing Environmental Health, Licensing, and Planning Departments at an informal discussion at the Town Hall, kindly hosted by them, to share views and questions between the departments and landlords, venue managers and other interested parties re recent issues around live music venues and complaints from new residents to the area around those already existing venues.
The same gentlemen referred to the “Human right to a good night’s sleep” I’ve not checked but I was convinced that he was convinced that this was in the European statute of human rights.
So his and the department’s position, revealed clearly that evening is that if a complaining resident’s sleep was disturbed after 11pm even if they knew it would be when they moved to the property then “Environmental health officers who are qualified and trained to assess whether a noise is likely to be a statutory nuisance would be legally obliged to take legal action to stop the statutory nuisance”.
This meeting was held following the closure of the wonderful Fiddle and Bone, the threat to The Nightingale, the restrictions placed on The Spotted Dog and major difficulties for The Rainbow amongst others. During the meeting I concluded that the only way to preserve important music venues was to try to ensure that there was no inappropriate building of new residences near to them and that this had to be done at the planning stage.
Oddly I’d watched fascinated as the planning department refused permission for a new apartment build in Digbeth in 2008 on fears that “Residents would find the noise of gunfire and explosions from the neighbouring Gun Barrel Proofing House unbearable”. I knew that area well and had never heard a dicky bird from the Gun Barrel Proofing House myself but this showed the planning department had grasped the concept of not allowing development near to an important resource where new residents complaints might threaten the resource.
When a planning application was recently submitted for a new apartment build immediately adjacent to the cultural treasure that is The Hare and Hounds in King’s Heath I was concerned but it seemed such a ridiculous proposition that I didn’t over worry. A 3,000 signature petition delivered to the planning department, 100’s of comments directly to the planning department and the objection of current residents of the area to the proposal further assured me that the application would be rejected and rightly on Dec 20th it was, by the democratically elected councillors who are members of the planning committee.
Then at the next meeting of the planning committee on January 24th according to the Birmingham Mail The council’s chief planning officer, Richard Goulborn, told the committee: “We do not believe that approval of this apartment will jeopardise the operation of the Hare and Hounds.” as he overthrew the elected and representative councillor’s views.
I have spent this weekend angry, as have many others in Kings Heath, Moseley and across the City. Older ones amongst us have seen the cynicism of the developers who led to the demise of the Fiddle and Bone, they even hired the venue to show off their new apartments from across the canal to potential purchasers who then, when in residence complained and had the venue shut down.
Younger ones amongst us find yet another reason to be cynical of local government and it’s processes.
I’m angry that the planning department once again are showing no sign at all of recognising the importance of culture in the lives of our citizens and I’ve been devastated that despite this Council’s, I’m sure heartfelt commitment to transparency, accountability and increased local decision making we can end up with local wishes utterly ignored, over one apartment! Worth maybe £25k’s profit to the developer! We are putting one of the city’s cultural jewels at risk for that!
Remember the spokesman from Environmental Health’s comment Mr Goulborn? “You can move to a nuisance” “Our officers would be legally obliged…” That’s the threat from this approval to the Hare and Hounds.
I’ve lived through times in the 70’s and 80’s when this city’s informal music culture was strangled by a licensing committee that was as bent as a nine bob note. They were unique in the country, it took an act of parliament to disband the self generating, mainly slime balls, helped by a chairman of said committee going to jail for fraud.
I really did not think that by 2013 the biggest threat, other than the economy to the City’s music infrastructure was going to come from our very own planning department who seem to see the gun trade deserving one set of rules and live music another.
I know the application is for one apartment, it might be rented or purchased by some lovely, fluffy party animal who loves being there or it might be someone like my neighbours who have to get up for work at 4am in the morning and then we could be in trouble and that’s the unnecessary risk that I am so opposed to.
Councillor Martin Straker Welds, one or the planning committee members replied diligently this morning to my mail to him over the weekend pointing out that there were no legal grounds on which to turn down the application, he offered however to “ask the planning officers to keep a careful watch to ensure that the new construction is enabled to coexist in close proximity with live entertainment”. The problem there is that if a complaint is subsequently made by a new resident it’s not down to planning it’s over to Environmental Health whose officers are empowered……
So what now? There is no appeal, which in itself is one of the most cack-handed bits of legislation that I’ve ever come across, well maybe there is, perhaps an appeal to the European Court of Human Rights, the same court that rules that someone has a human right to a good night’s sleep. I suspect that somewhere deep in the small print there might be a clause relating to the Human Right of a community to practice and enjoy it’s culture. I’m off for a read.
After launching the music business mentoring scheme in the summer I’d just like to thank the more than a dozen artists and managers who have taken advantage of the offer and paid for one to one (or one to six!) mentoring sessions.
In 2006 Geoff Pearce and I ran a project called Managing Music. It had European Regional Development funding and ran for 18 months. It was for managers in the music industry or self managed artists. Each applicant joined us for 6 months attending a workshop on a weekly basis with individual mentoring in between. It was a great success. It was a joy to deliver because we were able to work with some of the best up-and-coming artists and managers in the area at the time. We even had a budget to spend on recording and promotion; delightfully Geoff and I were paid for delivering the project.
Everyone who came on the project agreed that it was more than worthwhile and I suppose the ultimate accolade was when Scott Matthews won the most prestigious Ivor Novello award for his song ‘Elusive’, the recording of which was partly funded by the project as both his manager and record label were participants in Managing Music. One of the strangest aspects of European Funding is that even if something is going really well it has to end and cannot be repeated.
As I look around the ever-changing music industry scene today I am recognising that there is absolutely nothing like what we did available in the area and should an aspiring manager or self managed artist wish to seek advice or mentoring there is nowhere for them to go (please tell me if I’m wrong). There may be University courses that teach certain aspects of the music industry but who has 3 years to spare and who can afford it?
I am currently being trained to be a professional mentor and I’m starting to wonder if the time has come for me to offer my skills and experience via paid one-to-one mentoring. Although the industry is changing so quickly there is still a lot to be learned from someone who has seen it go right lots of times, and of course wonderfully wrong and from someone who frankly isn’t too bad at sharing his knowledge and experiences.
I am going to hold a free workshop on Tuesday 3rd July 2012 at 7.30pm to take a look at how people in Birmingham’s music history have made a successful living, and how those aspiring to do that now might also be able to achieve similar successes. I will share some of my stories and I would like aspiring managers and self-managed artists to come and share with me what they feel are the gaps in their knowledge that they are facing today. This initial workshop will help direct future Managing Music seminars.
If you would like to be kept informed or find out more about my mentoring services, email me at firstname.lastname@example.org with the subject ‘Mentoring’.
I look forward to hearing from you.
Onwards and upwards.
“All I Need Is The Air That I Breathe” is a song I first loved in 1974, when it reached No. 2 in the UK charts and No.6 in the USA.
Dodgy miming by The Hollies here: -
Then in 2008 I had one of those rare moments where all was well in my little bit of the world with my pal on a Portugese cliff top with swallow tailed butterflies, blue sea, blue sky, spring breezes and my pal sings “Peace came upon me” a line from the same song.
Fast-forward to February 2012 where I’m asked if I’d like to tour manage Albert Hammond’s first tour for 30 years! He wrote “All I Need Is The Air That I Breathe”
“Yep. Of course, I’d love to” I said.
In April this year Micky Greeney and team are filming a video at Highbury Studio.
I tell Micky that I’m working with Albert Hammond. “He wrote ‘All I Need Is The Air That I Breathe” says Micky “I was here at the studio with Bob when Allen Clarke who sang it with the Hollies came by.
May 5th 2012 and Albert and Daniel Serrano Gimenez and Carlos Solano Sevilla, two very handy sidemen from Madrid, well Daniel is from Madrid but Carlos is a Rock lifting Basque who has stopped more ladies in their tracks then anyone I’ve worked with for a while, pop into Highbury Studio for dinner at the start of the tour.
May 10th and I’m in Kendal at the fine Brewery Arts Centre. At the end of the 2 hour show, Albert is so moved by the crowd chorus that he asks them to sing “All I Need Is The Air That I Breathe” again and then leaves the stage with the audience singing his song. He has to leave through the audience so I quickly borrow a phone with a torch from someone and point it to show Albert the way, but as we get to the rear exit from the hall with the audience still singing he turns to wave goodbye and I hold the torch above him lighting him for the audience.
Suddenly, Manchester, Portugal, Madrid, Gibraltar, Birmingham, Los Angeles and Kendal all come together for me in a glorious celebration of the power of a great popular song and I’m so loving holding that torch. This was my Pop Music Olympics. Better than any of the mimed ‘tosh’ you are going to see on your screens this summer.
Albert, who also wrote for Johnny Cash, Jefferson Starship, Whitney Houston, Tina Turner, Julio Iglesias, The Carpenters and many more is at The Glee Club, Birmingham on Wednesday 16th May. I’ll be running around with a torch and a big smile.
There’s a chance that you need to be over 40 years old to get this, but if you are a budding pop songwriter try not to miss one of the masters.
Had an early morning surprise call from Australian Broadcasting Corporation Radio on Tuesday this week.
Would I go live via phone on their drive time show in an hour to talk about Life In The European Theatre?
Woke up and agreed to do it on my way to Pilates.
We touch on their ‘drive time vinyl compilation album of the week ‘Life in the European Theatre’, Anti Nuclear Campaign, EP Thompson The Beat, Fine Young Cannibals and Inner City.
Not often that I’m heard to speak in the morning so here it is!
Met writer Nick Toczek yesterday at the funeral of an old friend. More on the life of Chris Edwards when we remember him musically in a couple of months time but thought a few old Moseley types might enjoy Nick’s recollections of upstairs at The Fighting Cocks in the early 70’s…
great to meet you again – albeit in such very sad circumstances – found your site and been reading about you… my part in the history of the upstairs room in Ivor’s Fighting Cocks is that – before he had a proper stage built – I made the temporary one from bricks and planks stolen from a building site plus dozens of beer crates ‘donated’ by Davenports Brewery (slogan: beer at home) after giving a fiver to the night watchman in exchange for a van-load of crates. That was for the first Moseley Festival back in 1973, which I jointly founded with Tom Sorohan and John Dalton.
Reciprocally, in running Big Ears, you gave a regular early platform for dozens of performers…. among them not just the utterly brilliant John Dowie whom you mention, but also – if memory serves me right – Victoria Wood, Kay Russell (who had a big chart hit with The Susan Fassbender Band – ‘Twilight Café’ – which she wrote and played/sung on), Jim Cleary (who should’ve been bigger than anyone out of Brum),me (check out my incomplete wikipedia site), God knows how many musicians – including Ruby Turner (managed by Gather Owen) all of Robert Plant’s post-Zep Honeydrippers – plus ex-Move luminaries, some ace folkies, etc,… not forgetting others like the now-legendary cartoonist, then scriptwriter, Hunt Emerson, plus the playwright (but since established as a major children’s poet) Gareth Owen, plus John Row (of Stereo Graffiti) who’s now a leading player on the storytelling circuit…. and many more if I stopped to think about it.
What I’m saying is that your blurb about Big Ears is too modest… by far. It was an astonishing phenomenon.