Steve Allan Jones has been a touring member of The Alarm, was the music supervisor for the "Vinyl" soundtrack as well as being an on going member of Spear Of Destiny but that's only the tip of the iceberg as I found out when I caught up with Steve this month.
How did you first meet Mike Peters?
I was 17 and had the lead in the Rhyl High school play.We
were rehearsing in the drama studio.After our rehearsal this bunch of youths
starting setting up a few amps and a drum kit. I stayed to listen to this
god awful noise they were making. Somehow it sounded great! After they finished
I shuffled up to say hello. Two Mikes were playing guitar Mike Evans and Mike Peters.. I asked if they wanted
a piano player.. I was in!
You formed a band together while still at school, what can
you tell us about it?
Mike and I didn’t
really know what to do.We jammed in the Bod Unig pub in Dyserth. There’s a fab
photo of us jamming in Rhyl Youth Club..Mike and I,Steve Oldfield ,Glyn
Crossley,Eddie MacDonald,Nige Buckle and Tony Babbington..Eventually we had a
lineup . Harry Hippy was the name given to us by a DJ at the Stables nightclub
where we rehearsed.We played a couple of school gigs and some Stables sixth
form shows. In fact I think our first proper show was Mike’s sister’s 21st
birthday party. I am pretty sure we played “If you Think You Know How To Love Me “ by Smokie!
You went to see the Sex Pistols with Mike in 1976, was this
what inspired you to enter a career in music like it did so many others?
We used to go to a rock club in Chester called Quaintways.
As we left one week there was a poster on the wall... next week the notorious
Sex Pistols! We went and were blown away by the Pistols energy. This was very
early on. After the show we ended up in the bar and the band were there. I
remember Mike and I being tongue tied. In the end I think Mike nudged me forward
(he was quite shy in those days!) and I mumbled something like “ How do you
write your songs?” Johnny Rotten looked me up and down as if I was shit on his
shoe and looked away with the words “Get the beers in Glen!” This encounter
awakened something in both of us. I am
not sure we could see a career in music but we could see that writing our own
tunes was a way forward.Simple direct tunes with hooks and energy. Although I
had some formal music knowledge this punk rock didn't need that information..
For us the world had opened up and we wanted some of it.
What was the punk scene like in Wales?
There wasn't one. I
can only speak of Rhyl. By now Mike and I had gone our separate ways. Mike had
formed the Toilets and I had formed Amsterdam.Mike and various others had taken over the 1520
Club in Rhyl for punk nights.. Big in Japan played one night.There was
spitting. Mike was more punk than me..I wanted to be Elvis Costello and Mike
wanted to be Joe Strummer
You were in a few bands in those Rhyl days – Stripey,
Amsterdam and X Men what are your memories of those bands?
Stripey –cabaret - great fun learnt a lot.
Amsterdam – original songs, paid my dues gigging across the
north west nearly had some success but again great fun.
X Men- the first band with a proper concept. Grey
shirts ,two keyboard players.. sort of New Romantic . We played two gigs and
went down a storm so rather than mess about we decided to move to London. Only
Pete Picton (now in major league journalism) and I made it to London. Whereupon
the X Men were no more.
Then came Tuphelo Torpedoes with Gareth Jones (Gaz Top) was
that when things started to get moving?
Well actually next was my stint with
Glasgow band Berlin Blondes. They were signed to EMI then Gary Numan’s label. We
toured a lot. Supported Theatre of Hate amongst others. After a tour with Hot
Gossip (yes really) we changed singers and got in David Freeman. David had been
in punk band The Flys. Great singer. He went on to write No More I Love Yous
covered by Annie Lennox. The Blondes split despite having regrouped and had
plenty of record company interest. I formed a new band Shazam with Pete Picton.
Sort of electronic Northern soul. Then a band called War of Roses. Again so near to signing a deal. We
demoed for EMI amongst others. I remember getting very drunk one day and
falling through a coffee table.. that was it .. no more music for me.
Anyhow..I had dropped out of music for a while and lost
contact with The Alarm crew. I remember bumping into Gareth at Pete Pictons
wedding. Gareth had some songs he wanted to play so we got the Tuphs together
and played a few gigs. We also wrote a
couple of TV show themes together. I think Gareth’s enthusiasm got me
back into music.
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| Steve Allan Jones - European Tour 1990 |
You joined The Alarm for the European dates on the Change
tour, how did that come about and what stands out for you after all these
years?
Was you joining (while Mark was touring with Sinead
O’Connor) a band decision or helped by you being managed by Twists step dad Pete
Buckle?
I will answer these
two together. I had moved back to North Wales to write my own stuff. Pete
Buckle was an enormous help, providing me with the means to do a year of
writing. Strangely enough Gareth sent me MP3s of those tunes so I am going to
rework them in the New Year! Anyhow..Pete had a call from Nige to say that Mark
Taylor had got another gig and could I step in. I seem to remember there was a
moment in Pete’s office when I just didn't think I was up to joining the
band. For one ,there were to be no rehearsals.. I was sent cassettes of the
tunes and learnt them in North Wales. Mike, Nige and myself flew out of
Manchester to the Netherlands on the day of the Towyn floods. I did the soundcheck
and there I was that night playing! Terrifying. There were so many amazing
moments on that tour. During a gig in Italy the sequencer went down on one
song. Might have been Sold Me Down the River. So Eddie jumped back on bass .. I
had held the bass line down while he did. The whole song took off.. Dave went
for a walk round the theatre ...just a band playing but something special
happened that night. I can still feel the buzz.
How did the suicide of Pete Buckle affect you?
We were on the European tour and I spoke to Pete on the
phone. He sounded so different. I have spoken little about Pete’s passing and I
like to keep my feelings about this private. However , I will always be grateful
to Pete for everything he did to make me believe in myself. He was a remarkable
man. Indeed Nige's mum Barbara was a source of wise words for many years too. I
was very close to them both.
How did you take the news of The Alarms split, knowing the
band did you see it coming?
I could see it
coming. The European tour was strange. Although the four lads were playing
together something wasn't right.I knew them all since the early days and they
were pulling apart. I could see some of the reasons too. I am sure that everyone
has pressure in their lives but being in a band has to be up there with the
most pressurised. You are work colleagues but also friends. You have your band
life and your personal life. It is very difficult to find yourself amidst all
the noise and travelling. On a personal level I was upset by the split. This isn't
hot news but I was friends with them all and to see four mates fall out was
hard to take. It’s one thing to split the band but the circumstances were
traumatic. I am sure that in
hindsight, the lads wish it hadn't
panned out the way it did.
You continued to be involved with Twist and Dave Sharp post
split, what do you remember of this time?
I suppose after The
Alarm split I thought I would go back to writing. However I had no manager and
actually no work! That is when I fell into theatre work. However I digress..
Nige and I wanted to write dance music together. I flew out
to San Fran and spent three weeks working on tunes. I think they eventually saw
a release..its 20 years ago! Nige was instrumental in my adoption of the
computer as a creative tool. Nige is also one of the best drummers I have had
the pleasure to work with. I also played in Dave’s band for a while. Good fun.
He is a very talented man.
I feel I should also talk about Eddie here. Eddie was in an
early incarnation of my band Amsterdam. We were still kids really. Eddie has a
real sense of a hook line and although he is not involved with music at the
moment,his legacy as a songwriter stands the test of time.
Many fans will know you from the mighty Spear Of Destiny of
course and from Kirks solo works both live and studio with the “Dutch Masters”
series. How did you get the gig?
I think it was 2000. I had
a call out of the blue from Liam – Kirk’s manager. He said he had got my
number from Si the drummer in Dave Sharp’s
band. Liam said that a keys player had
let them down and could I do the gig . It turns out that it was the very first
Westworld weekend. So I got sent cassettes of the songs and learnt them as best
I could. That Saturday I set up my gear on stage and Kirk came up to me and
said where were you in rehearsals? I explained that I was the new boy. Once more I was on stage with a band without
having rehearsed! Since then I have played with Spear /Kirk every year.
Your first Spear album was “Loadestone” I believe, what are your memories of that album?
To be honest I can’t
remember much! Kirk and I have a way of working together. I have signature
sounds that Kirk likes and he will often say try that sound. I have learnt that
Kirk is a unique songwriter with his own sense of melody. When playing piano I
have developed almost a power chord style which, for musos out there often means
no thirds!
What dictates whether or not you appear on a Spear album or
tour, is it availability or whatever Kirk decides?
It is usually cost! Touring with an extra player can be the
difference between profit and loss . Spear fans can hear me virtually on most
Spear gigs as I have recorded various keys parts for use live. I think I have
appeared on all Kirk /Spear albums since 2000.
You also featured on the following “Imperial Prototype”
album, another personal fave of mine, with tracks such as “Berlin Berlin” and
“Santa Clause” what are your favourite moments on record with SoD?
Although I always
love appearing on Spear albums, I prefer the Dutch Masters series. Usually Kirk
and I plus a few guests.
The latest in the “Dutch Masters” series (Volume Five) has
had great fan reactions, were you surprised at how quickly tracks like the
cover of “Skyfall” spread around the net?
Not surprised at all.”DM5” is a fantastic album. I am very
proud of it. Kirk always tries to push the boundaries and this time its
resulted in a really wonderful mix. Skyfall..the story behind it..Kirk calls and
says he wants to cover it and what do I think. Well I thought it was inspired. I
worked out a rough piano arrangement and we began work..it became obvious that
Kirk’s version was going to be different. I kept telling him to listen to the
original. I could have told him the notes to sing but then he would be
copying. All through rehearsals KB never quite nailed it. It would fall apart
somewhere. I knew he would do it in the gig. KB and I have done a few Akoustik
gigs but this year's Westworld and the short tour in the summer were the most
nerve wracking. I think there lies the magic. We have both been in the business
for a long time but I can honestly say that we were both nervous as hell. When
KB sings those “money” notes there is no-one on the planet who can touch him
for sheer thrilling singing.
How was the Westworld Weekend this year?
Following on from the above .The Saturday
afternoon gig. We finished with Skyfall..the electricity was in the air. We
finished the song and for a brief moment there was silence. I think everyone
didn't know how to react. I swear I heard someone crying. All I can say is that
I treasure my moments on and off stage with KB and I am glad to say he is my
friend.
How early on did you become involved in the “Vinyl” project?
Day 1! Here is my recollection of the story. Many years ago
I was having a cuppa with Mike and he casually mentions that someone had sent him a script based
around the Alarm scam. I remember emailing Sara in LA asking her if she had
heard of Jim Cooper (scriptwriter) or John Williams ( executive producer) Sara
emailed back to say that she was going to see John about a project the next
day! 24 hours later John had shown Sara the script and she wanted to direct it.
Funny old world.
During shooting Mike called to ask if I could give a hand .
I ended up working with the actors to learn the tunes that were used in
filming. I also coached the auditionees. I was
filmed for that sequence but thankfully my performance ended up on the
cutting room floor. Mike and I reshaped the young bands tune near the end of
the movie too..
Did you know Sara Sugarman from your teen years?
Yes and
here the circle completes. The school play I was in where I first met Mike featured a young third former – Sara
Sugarman.
Can you describe the Vinyl writing and recording sessions, did everything come together as quickly as it appeared to on
the making of DVD?
Mike and I had already started writing together for the
musical. The film had been shot and Mike and I had seen a rough cut with
original punk music from the 70’s. There was no way that the film could afford
the fees to use those songs so Mike and I offered to write the soundtrack. The
cornerstone was Mike finding the original Toilets songs. Mike and I were also
trying to write new stuff for it too. We had a few ideas. My concern was that
the new stuff and the old stuff wouldn't co-exist. So I suggested that if we
were going to make this work, we had to try and recreate the spirit of punk. So
Mike called Aerial studios and within a week we were there writing and
recording. Phil Daniels,Smiley and James came up to contribute. Mike took the
lead with the Toilets songs. Sometimes we literally played a song as we were
learning it and that is what you hear on
the soundtrack! The basic tracks came together in one weekend. We then took
those away and added to them at the Chapel. Mike was going out on a tour so we
got everything we needed from Mike before he went. The song Breed Apart came
about right at the end of these sessions. Mike had an idea which he played to me. We worked on the chord
sequence trying to add a twist to the structure. I remember saying to Mike
about the major to minor changes in 68 Guns so we worked through the song to
get something similar.
Did working with such a tight deadline help give the music a real urgency?
The tight deadlines were a help to get the spirit of the music right. With Mike away on tour it
was left to Martin Wilding and I to add more vocals and mix for the film. It all
happened quickly with four or five tracks going over to Sara every day. Even
then that wasn't the end of it. Sara emailed a few times to ask for short
incidental pieces. For example the music behind the young band leaving the
chapel in the van was all me.. pitched changed and altered..at one point I am
also a bit Buzzcocks! Wherever there was a music gap I filled it.
As we were replacing music in the film we had to keep to the
tempos as closely as we could. Smiley is such a fantastic drummer that that was
no problem!
How was it with James Stevenson playing bass rather than his more familiar Les Paul?
That was Mike’s idea. I loved the way
James gave some real oomph to the songs. He is a clever bloke!
You are credited as co writer on a total of five of the
tracks on Vinyl, can you talk us through your influences and ideas?
“A Breed Apart” See
above
“Rip It Up” – Mike’s idea which we batted back and forth
until we got the version you hear on the album. Phil added his lyrical slant to
it too..The idea was to provide an authentic soundtrack to the Weapons of
Happiness musical history
“La La La London” Again a Mike idea which we played in my
studio initially.. the rhythm changes from verse to chorus.I listened to this
yesterday and realised that the uncredited trumpet on this track is played by
Stan the Man
“Cowpat Town” One of the ones we improvised in the studio.
James had a bass line and I had a chord sequence. Phil provided the rest!
“Immediate Girl” This
is an old Toilets tune which we reshaped . I think I added the middle 8
section.. I wanted the duel lead vocal
to echo American new wave bands.
You are also the Music Supervisor for the album, can you
tell us a little about what that involved?
Traditionally the music
supervisor has a more unexciting role..
however if there was music required I was there! Sara asked what I wanted to be credited as
and as I had musically directed /coached and co-written songs it was easier to
call myself music supervisor! I even edited La La La London to fit the picture
we had.
Was your organ line on “Alarm Alarm” a homage to Dave
Greenfield or just a way of getting the ’77 sound?
It is actually a Hohner
Pianet – a small cheap electric piano sound. A very Stranglers sound
Interesting fact. The soundtrack in the film and the OST CD
release are different mixes.
How did you break into TV work?
As I said, it was Gareth
who initially helped. I still get bits
and pieces and have recently teamed up with a major TV composer so 2014 may
well see me work more in this field.
What would people have possibly heard without knowing it’s
you?
That is easy. For about four months of the year I write and produce
childrens audio. You may have heard me singing and playing original or
traditional songs on albums for Early Learning Centre or Marks and Spencer. For
anyone reading this outside the UK I write for Imaginarium the worldwide toy
company. Gareth once said he was walking
down Green lanes in North London when he heard me blaring out of a car! Even
stranger The One Show was on a couple of years ago.It was a feature about
caterpillars. I was watching it... but the soundtrack was me singing a song
about Creepy Crawlies! Every so often in the background I hear one of mine. I
also co-wrote an album with Pete Coyle (LotusEaters) which once got played in
the background of the Emmerdale pub.
Your site states that you are working on a musical called
“OXY” with Mike Peters and Paul Sirett, what can you tell us about it?
Very
little at this stage. Its a project Mike and I began well before the movie.
Last year I said that either we moved it on or forgot about it. We moved it on.
So much so that it has changed and morphed into its own life. I can say that it
still has a lot of the both of us in it. I will also say that it is about two
brothers who form a punk band in the 70’s.
What is Mikes involvement?
From the outset we both wrote the synopsis and music. Now with Paul on
board the split is three ways. It is a democratic way of working that we are
all comfortable with.When the soundtrack appears you will hear what I mean.
Is it going to have a static run or do you hope to tour it?
Both! It has been taken up and we are now in the hands of the producers.
You’re about to hit the panto season, what are you doing and
where can we catch it? As I write I am in the Floral Pavilion New Brighton
until Jan 5th. Jack and the Beanstalk. Cool cast, packed houses,
cheesey jokes but the music is poppy and
rocky. Great fun and so different from rock and roll.
What are your plans for 2014?
The musical takes centre stage for me. If it all pans out , you will see the show this year. The first batch of
songs are complete and we are all very proud of them. We have some more
compositional work to do on it which will happen mid January. Nothing else
confirmed yet however so what will be will be. I am writing a new childrens
album in Spring 2014. Probably more work with Kirk.I usually make an appearance
at the Gathering either on stage or at the bar!
Steve Allan Jones, thank you very much and here's to a great year ahead!
