Oxy and the Morons - Steve Allan Jones Interview

Now that Oxy and the Morons has been seen by a much wider audience with many falling in love with the songs, the story and the characters it seems the perfect time to ask Steve Allan Jones one of Oxy's creators and writers a little more about the play that we have taken to our hearts.

The news that there was a play in the works had been around for ages, when did you first start talking about it with Mike?

I think 2009 or 10. Dylan and Evan were going to a local youth theatre that I worked for so in rehearsals I'd go say hi and Mike said one day that we should write a musical.

Was this prior to Vinyl being discussed?

It was roughly around the same time I think. Possibly slightly after. I wasn't supposed to be involved with Vinyl. I did the initial contact with Sara Sugarman. Mike asked me to get on board with Vinyl as there was so much to do.

Was it hard to separate the two projects, both had music to be written, both with an earlier "punky" feel?

Not really. A lot of Vinyl emerged from Mike's early Toilets demos. Most of the rest of Vinyl was written in the mad weekend studio session. I remember James and me working up an idea in one room with other stuff going on elsewhere. A Breed Apart was written in the Chapel. Mike had a lot of it already but I tweaked it with him. I said remember how 68 Guns moved between major and minor chords so let's put a similar sequence into the chorus.

With Oxy Mike and I had some basic ideas which we worked up in my studio. As I said Free Rock and Roll was in this session in a very basic format. Which tells me that the very first writing session for Oxy was just before Vinyl filming.

So....the Vinyl soundtrack was recorded after filming (apart from Free Rock and Roll and a couple of other tunes). Oxy was next worked on once we had started talking to Pete Rowe at the New Wolsey. We had a couple of writing sessions with Paul who we had been introduced to at the Chapel.

Paul is a songwriter himself and plays a mean guitar!

He bought a different vibe to Oxy songs.

What was the original idea for Oxy, was it untitled at the time or was it Peroxide? The suggestion of the leukaemia story line came at the suggestion of Paul Sirett did it not?

Oxy was very early on called Peroxide. We came up with the idea of being a love story. To describe it we said it was a punk Grease. It was based on our experiences in the 1970s being in bands together. Once Paul came onboard he tried rewriting it within our original story. Eventually Oxy evolved. The leukaemia element came about after Paul, Pete Rowe and I had attended an early test screening of Vinyl in London. Mike wasn't with us that day. Paul and Pete had been discussing adding the cancer story to Oxy and asked if Mike would mind. I phoned Mike almost immediately and of course he could see the real world benefits of such a move. Mike said yes and that's when Oxy became something like the final structure.

Copyright Mike Kwasniak - used with permission

So in the genesis of going from an initial idea between yourself and Mike how did Paul join the creative team?

So this is tied up in how we ended up in Ipswich. We had got about 75% down into the story of Peroxide by our fortnightly meets. Then we had both gone off to do other stuff for some months. In the meantime I was sounding out friends of mine who could write the script. A mate of mine in Cardiff came up with a genius look at Oxy but we felt we wanted to stay closer to the original idea. We met up in the cafe at Dyserth waterfall one day and I said we need to move this on or forget it. I had worked for Theatr Clwyd for a while but I knew that Oxy wasn't something for them at the time. However, Pete Rowe who was artistic director at the New Wolsey used to write and direct the rock and roll Panto's every Xmas in Theatr Clwyd. Pete's partner Sarăh Holmes was chief executive at the New Wolsey. I had got to know Sarăh at Theatr Clwd so I emailed to ask her advice. Mike was keen as he loved the Theatr Clwyd Pantos.

And so Sarăh suggested to Pete our idea and Pete invited us down to Ipswich to see his latest work Mods and Rox. Next day we met Pete. he asked us what we thought of last nights show, we loved it by the way, he then asked us what we needed. We said a scriptwriter. He said the writer Paul Sirett was of a similar vibe to us. And so a week or two on and Mike and I met Paul in a Euston coffee shop. We spent an hour with Paul. Back on the train we both said that Paul was obviously the right person to collaborate with. Paul came on board and we spent a bit of time working on Peroxide, drinking beer and going to gigs! It's important to get on the same wavelength. It was a very easy partnership with a great deal of trust between us from day one.

How did the writing progress considering all of your schedules and geographic considerations?

A lot of the songs were realised in the two writing sessions at the Chapel. Particularly Act One. Paul came up from London and we cracked on. We needed to have some tunes to get a flavour of the show. We recorded as we went. Sometimes emailing Smiley a rough back track to which that ruddy genius would play to and send back a drum track. The rest of the writing was more fragmented and centred around my studio. We used some material from the Chapel sessions. Mike and I wrote new stuff. Paul would send up ideas and lyrics. Sometimes I would phone Mike and say give me an hour this week. He would turn up and play bass or guitar or sing or write. Whatever needed doing. Then I would mould and adapt and rewrite until we had all the tunes in a demo form.

During the writing stage had you already received a commitment for it to be staged or did that come later?

Later. I guess we got most of the story sorted and about 70% of the songs into some kind of state before Pete said yes we would like to put this on. The original plan was to have another theatre involved too. Pete spent a lot of time persuading other theatres to join the Oxy run. There was one agreement from a major theatre to collaborate but sadly they pulled out (don't get me started on that though!) This period went on for a couple of years before Pete said we are going to produce a short run on our own.

Copyright Mike Kwasniak - used with permission

It must have been daunting putting so much into a project that you weren't sure would ever see the light of day?

I suppose writing a song is a similar process. You might finish it but nobody may hear it. It's a calculated risk in the arts sometimes. I guess you have to believe in something yourself enough to finish it.

Once you knew that the New Wolsey Theatre would be putting it on it must have been a great relief and also a vindication of your belief in Oxy.

To be honest it was great news. Mike, Paul and I are lucky that we often have multiple projects in various stages of developement and Oxy was sitting in the ready for an opportunity box. We were all working on other things. And Pete at the New Wolsey has already shown his faith in Oxy. He managed to find a slot at the theatre and a budget to get Oxy up because he really wanted the show to come to life. I think we all immediately cleared diaries. Then came the hardest part of all. The show was on paper. Now we had a production slot that needed more work.The months before the run became another chance to tweak the show.

Was it at this stage that the actual production side started with casting?

Scheduling first. Usually working backwards from the run. But yes we needed actors. We knew we needed a cast of nine. We also knew that eight of them had to play an instrument, Each character has a description and a skill set. We had a great casting agent Debbie whose job is to find us a short list of actors who fit the description. The tricky bit was to cast a younger and older version of each character who could play the same instrument.

How did that work, did you get a short list then hold auditions and across what sort of time was that?

So a number of actors are invited to audition. normally I would be at the first round but Pete told me early on he didn't want me to musically direct so Ben our MD along with Pete and Debbie were at the initial casting. There were two stages. Instrumental prowess and acting ability. I think they wanted to cast the older band first. All of this happened April/May 2017. I attended a recall audition where the initial contenders have been whittled down. I was lucky enough to see the final auditionees for Andy and Brian. Two good friends of mine were up for the parts and they were tremendous. Rob and Sean came in after and they were tremendous too. I was glad I wasn't making the decisions. Pete was right to appoint Ben as I was too close to the show.

Did you see it that way at the time?

Sort of yes. I always think collaboration is the best way forward. Ben did a lot of work from audition to run. There's also a lot of good perspective from Ben as to arrangements. The final batch of songs had keyboards on. We were looking for a keyboard and bass playing female actor. It became obvious to get rid of the keyboards. Something I would have had second thoughts about as MD.

And a keyboardist?

Yes, probably. The second batch of songs had quite a lot of keys and indeed backing vocals which I did myself. It needed an outside ear to pick out the important stuff. There are still a few remnants of the keyboards in the show. For example young Sheena plays a keyboard early on in Act two when establishing her character was classically trained.

Copyright Mike Kwasniak - used with permission

Molly-Grace Cutler in her professional debut - she was a great find. Was it a risk casting someone without much prior experience or was this another example of the spirit of punk?

I wasn't at her audition. I heard she blew everyone away. I knew people at her drama school who said she was amazing. She is! No risk whatsoever I would say.

You've touched on the need of the cast to be able to act as well as to be musically competent. Janet Fullerlove said on the Big Night In Oxy stream that she bought a bass and was told to practise, practise, practise! To what level were the cast already musically adept?

As far as I can recall all band members bar Janet were musicians. Janet learnt the bass for the role. A remarkable feat but she was so good as Elizabeth.

I think the cast were absolutely spot on. Was it difficult in getting the "present day" cast to mirror the young Oxy and the Morons?

 Tricky. I think until Act Two it's not an issue. The audience get used to the staging quite quickly. In fact I heard a few cheers at the start of Act Two when the audience realise that now the roles are reversed. I'm not actually sure that the present day cast did mirror the originals. It was more the other way round I think although that's only my perception. Actors when they know they are playing someone real will look for the little traits to mimic. I think there was a little of each cast doing that. The amazing thing was the sort time they had to rehearse and get to know each other. They have to be real bands.

Copyright Mike Kwasniak - used with permission

The staging itself was something, simple in many ways but did the movable stage give you any headaches or concerns?

You would have to ask Pete and the actors!

Did you have any input during the rehearsal stage or were you having to wait like an expectant father for the premiere so to speak?

Yes but there's a limit to my involvement. Paul and I were at day one of rehearsals. I hadn't met everyone and it's important to connect with the team. We sat in on the reading of the script. Notes were made. That was the first time anyone had heard the words aloud - usually there are workshops before a production but that's punk!

We all had a chat about the show. As some of the story was based on Mike and I the actors asked a few questions and Paul could clarify a few things too. I remember that night Sean (Brian) had to rush back to London to appear in Jesus Christ Superstar in Regents Park. I was going to the show anyway so I too ended up in London. We had a couple of beers after the show ended earlier as pouring rain cut the show short.

I returned home and during the week I would get notes from Ben with suggestions and requests to rewrite stuff. I think Mike was away at this time so it was mainly down to me and Paul. There were a few very last minute tweaks. I then watched a first run thru a week later. It's important not to be too precious as long as it's all going forward in a good direction. I write quite a few shows so the process is well known to me but not being musical director really helped me to gain perspective. The team did an amazing job and Pete was so supportive to his cast and crew. One of the best I would say.

What were the reactions to Oxy from the theatre goers and did you receive any feedback from "the trade"?

I watched the final dress rehearsal and it was very powerful. That night I watched the first show too. My impression was that the audience had taken a gamble. Brand new show. Quite revolutionary staging too. It took about twenty minutes until the audience got it. After that it was a roller coaster. I was watching as a punter but also as a writer. But by mid Act Two I was just a punter. You could feel the audience were totally inside the story, Some were old enough to remember 1978 and had been punks. Some were just theatre goers. Without giving spoilers there was a collective audible "oh" when the twist is revealed and a kind of amused sigh : laugh when the final song is announced. Then a standing ovation. Apparently it happened a few times during the run. The audience numbers started to increase as word of mouth got round. We got great reviews from almost every reviewer including The Stage.

One night I was in there was a small London theatre in who loved it. Again other theatre companies / individuals had been and loved it. However nobody took up the show.

Something Pete Rowe said to me - a show he had similarly encouraged was on a national tour at the same time as Oxy was running. It took seven years to get another life. And that show got into the West End eventually. So you never know.

Copyright Mike Kwasniak - used with permission

 Now that Oxy has finally managed to go global, albeit in to peoples homes rather than theatres, there has been calls for access to the songs and even merchandise - would that be practical and what is the likelihood of those things happening?

I would say that there are difficulties releasing the songs. All performers gave their permission for the Oxy broadcast. It's something we will explore. The Oxy t shirts were given to us by Janet as a memento but I still wear mine! I would say that's an easy merch product to produce. I'm not in that area of the biz. Mike and I have spoken about something and I'm sure in the coming weeks if we can pull it off everyone asking for Oxy material will be pleased.

That sounds intriguing!

What has the reaction been to Oxy since the broadcast? There's been clips shared of it making news channels in America!

I've been heartened by all the comments. I think we all knew that Oxy was and important and new way of telling a story through a musical. It's had over 4,000 views on YouTube in six days and will be staying up there until the lockdown ends. Before the premiere there was a couple of enquiries from TV. It's a very British story and it certainly could be adapted for the screen. I'm hopeful with the renewed interest that we get a further life for Oxy. If we don't at least more people have seen what a great job the cast and crew made of bringing Oxy to life.

Was it hard getting everyone on board to clear permissions to show it as part of The Big Night In?

Once I had suggested the showing to Mike and Pete it didn't take long really, It was early in the lockdown. Pete took about a week to get the permissions.

Whoever had the idea of involving the front of house team in that broadcast was a genius! That was so fun and great to see!

Mikes idea! Brilliant! And well done to the New Wolsey team for getting it done.

I think we've given Oxy a good insight there....is there anything else you'd like to add in?

No I think you're right. There's seven years of stories mind!

I suppose with hindsight there are areas we would change, rewrite or tweak. We would and already have started to play down the punk angle a bit. I think in these times a bit of positivity is what we need and, rightly or wrongly, punk is seen by some to be a negative thing. For kids like Mike, Paul and I it was liberating. We were given permission to be who we wanted to be. I have no doubt that without punk it's unlikely that any of us would be in the music business. Mike and I were office workers in a small seaside town. How could we get to be on stage in front of thousands? Punk appeared, whipped off the chains and showed us Step 1 - just do it! That's punk! The final monologue of Oxy sums it up. A more life affirming speech you couldn't wish to hear. When Mike and I started the Oxy story we were writing a daft punk rock love story. However with input from Paul and Pete a much more interesting and powerful show emerged. It needed writing and now it's writ. Somewhere in Oxy's story are little bits of Mike, Paul, me and all of us, just trying to get through life as best we can.

Now that's punk!

Exactly!

Copyright Mike Kwasniak - used with permission

WATCH OXY HERE! (while you can!)

Oxy and the Morons photos copyright of Mike Kwasniak and used with his permission

For more information please visit Mike Kwasniak Photography 

New Spear Of Destiny album available to preorder

As promised yesterday "31 (Thirty One)" the new album from Spear Of Destiny is now available to order from the Kirk Brandon web site.

There are ten different "tiers" which allow you to preorder anything from just a digital copy of the album (plus updates) for a tenner right up to the £500 one off Ultimate tier! Thankfully most tiers aren't priced that high and I will probably plump for the £30 option with signed cd, bonus tracks and t-shirt!


Check out your options and order your album HERE

New SoD album previewed

Tonight Kirk Brandon streamed "Sputnik" from the upcoming Spear Of Destiny album which will be called "31 (Thirty One)". Full details about the album as well as how to pre-order it will be unveiled tomorrow night from 8pm at kirkbrandon.com

Check out Kirks message here and hit the above link to hear the new track!

Westworld Weekend details....Dave Sharp added!

The details of this years Westworld Weekend have been announced with Dave Sharp appearing Saturday afternoon as well as Steve Allan Jones.

Day tickets are available for both days (£18.50 for the Friday and £24 for the Saturday) as well as the full weekend ticket which is priced at £39.

Get yours HERE

Steve Allan Jones Interview

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 21^st 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.

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 5^th. 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!