www.the swinging laurels.co.uk

Interview with John Barrow by Steve Perrett for internet magazine: Song Stuff

Leicester tenor sax man JOHN BARROW. One of the journeymen of pop music, spends some time on the Songstuff Q&A. In a playing career spanning twenty five years, John has played and recorded with some of the top names of the times.
1. Was there a reason for choosing the sax as your instrument? Do you play any other instrument?
Originally I wanted to play the guitar, but in the mid 70s, there appeared to be a glut of guitarists and not many brass players. Also I loved the sensual sound of the sax. Both of my teenaged sons are guitarists though.
2. How did you get started in the Music business? What was your first big break?
My girlfriend saw an ad in the local rag from a soul / funk outfit and phoned to arrange an audition without my knowledge. I was a bag of nerves because they had quite a high profile on the local Leicester scene. I got the job, but only because I was the only sax man that applied!!!!
3. After moving from amateur to professional, what would you say were the main things you learned about the Music business? Did you find you had many misconceptions?
The first time I quit a conventional job for music the transition was pretty quick. I booked a day off work to record Top of the Pops and the next day I promptly quit. It felt good, I can tell you. I had struggled for a long time to hang on to a day job. Often I got back from a distant gig late for work the following morning and struggled through the day zombie like, through lack of sleep. Looking back, I don't know how I did it for so long! The second time around, I was a bit more cautious and I waited until I'd signed a Warner Brothers recording contract before I committed myself! The main difference was not having to rush home to make it for work and being able to sleep in after a gruelling late night gig. Also it was a luxury being able to rehearse when ever we felt like it.
4. What bands have you played with? Which ones are the most memorable?
I've recorded and toured with lots of bands, including:
BOY GEORGE, CULTURE CLUB, THE FUN BOY THREE, IGGY POP, MUSICAL YOUTH, THE SWINGING LAURELS, JERRY DAMMERS, LAUREL AITKEN, THE CLASH, RHODA DAKAR (THE SPECIALS), CRAZYHEAD, THE BEAUTIFUL SOUTH, BANANARAMA.
I played on the FUN BOY THREE hit "The Telephone Always Rings" which reached No.17 in 1982. It was great working with the guys who were all ex SPECIALS members. I was a big fan of the SPECIALS. Also I toured with CULTURE CLUB at the height of BOY GEORGE mania. My band, the SWINGING LAURELS, were special guests on two sell out UK tours in 1983, at George's request. He was a big SWINGING LAURELS fan.
5. Do you have a favourite recording?
Of mine??? If so, yes. "Peace of mind " by the SWINGING LAURELS. It was recorded at Woodbine Studios in Leamington Spa, where lots of the 2-Tone hits were recorded. It was a No.1 Independent chart hit and was recorded in two days on 8 track in really spontaneous fashion. The way I like to record.
6. Tell us about your appearances on Top of the Pops. Can you remember the first time? What was it like appearing on such an established show?
Appearing on the show had been a childhood ambition of mine. I remember as an eight year old, sitting glued to a tiny black and white television while bands such as the Kinks, the Beatles and Gerry and the Pacemakers strutted their stuff.
My first appearance on the programme was with a band called BLACK GORILLA who had a novelty hit called "Gimme Dat Banana" in 1977. We trolled down to the BBC Television Centre in a beat up hire van. After checking in we were given a dressing room next to Blue Peter's and I bumped into Arthur Lowe (Captain Mainwaring) from Dad's Army in one of the labyrinthine corridors. I even sat next to one of the Legs & Co dancing girls in the make-up room. Also making their debut appearance were the Boomtown Rats, fronted by a youthful Bob Geldof. After the show, as we left the car park in our grotty transit van, an even shoddier vehicle cut across our path, causing us to brake sharply. Pressed against the passenger window was a bare backside. The Boomtown Rats were leaving in style!
That week our single was sitting at No.29, but the following week, although selling more copies, the single dropped to No 30. Elvis had just died and the chart was filling up with re-releases of his songs. We had no doubt that if Elvis had eased off the cheeseburgers for just one more week or so, we would have been looking at the Top Ten.
7. Do you remember any embarrasing moments during any of your gigs?
Yes. I was playing session sax for a Parlophone Records act called CRAZYHEAD in the late 80s. We were headlining at the Rock City venue in Nottingham. The dressing room was in the bowels of the earth. We, the brass section, were so detached from the action that we missed our cue to take to the stage as the band stood like lemons in front of 2000 sweaty punters! Because of the sudden unnatural silence, we realized that something was amiss and scurried up the stairs to the stage, evil looks were leveled at us from the band. Very embarrassing and it took some living down.
8. I know you've worked with some very big names in the music world, what was that like? Who did you enjoy working with the most?
The first chart bands that I worked with were in the early days with BLACK GORILLA. We supported lots of chart acts such as The Foundations, Edison Lighthouse, Jimmy Helms, Sweet Sensation, The Elgins, 5,000 volts etc.
At first it was pretty intimidating but I watched and learned. As a young musician it gave me a good appreciation of how "name" acts operated. Later, in the late 80s I did a major 26 date European / Scandinavian tour, with CRAZYHEAD as special guests of IGGY POP. That was a riveting experience and IGGY was a magnetic, revelation live. The CULTURE CLUB tours in 1983 were great too. All the shows were sold out in advance.
Coming out of the stage door, we were pounced on by hundreds of baying females. They had tongues like ferrets and they pawed us and systematically relieved us of all our shirt buttons. One strange phenomenon each night was that Boy George was pelted with teddy bears. Tom Jones got women's underwear, George got cuddly toys.
9. Are you still in contact with any of them? Do they come round and buy you a beer now and then?
Yeah, I regularly see my mate and long time songwriting partner Gaz Birtles. I've pretty much wound down my playing career now but he has played alto sax with the BEAUTIFUL SOUTH for years. We get together most Fridays, work permitting, and he tells me his "on the road" stories and we reminisce over a few beers.
10. What would you say are the main pros and cons of working in the Music business?
Pros: If you are really into music, there can be no better way of expressing yourself, than to play and write. The downside not earning enough, to keep it going. When we were touring with CULTURE CLUB, my band the SWINGING LAURELS were on Ł50 a night!! When I signed a Ł400,000 deal with the mighty Warner Bros in 1982, I was on a Ł40 a week retainer. So when my kids came along I had to get a standard day job. Much as it hurt. It is only long term, sustained success that pays good financial dividends.
11. How would you say the Music business has changed over the past 20 years?
It has changed very radically. In the 80's a band, unless the outfit were financially self sufficient, had to rely on record companies to fund the process of recording and releasing records. Now, technology has made it possible for anyone to record master quality recordings, at an affordable price. That is not a bad thing in my opinion.
12. Do you think the internet has changed the music business? Has it had a positive or detrimental effect?
Yes. Again access to music, with downloading etc., has made the world of music a much smaller place.
13. you have a new book published "How not to make it in the Pop World" What made you decide to write a book? What made you decide to write this book in particular?
Like Top of the pops it was an ambition thing. Throughout my playing career, I kept loads of stuff, sort of a scrapbook, in the hope that one day I'd be able to publish my anecdotes.
14. Was writing the book as enjoyable as playing in bands?
Yeah, but I found that publishing a book is as frustrating, and as much a minefield as securing a record deal. There are many parallels.
15. How long did the book take to write? What was the most difficult chapter to write? Did you have any help with this project?
The writing process took about two years. The publishing process took a further two. I was kept dangling for months by a couple of major publishing houses. I nearly gave the project up, but thankfully persevered and finally got my deal.
16. If you could go back and start your career again, what would you do differently?
Everything is clear in retrospect, but we probably should have accepted an offer from BOY GEORGE to tour the States with CULTURE CLUB when they were at the peak of their fame. Our management team said we ought to`"crack" the UK market first!
On the back of our work with CRAZYHEAD, in the late 80s, I was offered a chance to audition for a band called The BEAUTIFUL SOUTH, who were looking out for a brass section to take on the road. I imagined that The Beautiful South would be another fleeting pop phenomenon, perhaps enjoying a couple of hits and then fading into the sunset. More question fodder for pub pop quizzes. Just how wrong can a man be? Thirty plus hit singles, several No 1 albums later, they are one of the biggest selling British bands ever.
17. What would you say are your greatest achievements?
Getting off of my backside and trying. Many people are in love with the idea of writing music or being in a band, but lack the conviction to do it.
18. What next? What direction would you like to take your musical / literary career?
I think that the book was a one off ???. Musically I have been content to play the occasional session. Mainly recording.
19. What advice can you give to Songstuff visitors who are hopeful of making a career in Music?
After all these years, my advice to any aspiring musicians is, to practice hard and prepare for disappointments.
Persevere, and have belief in your ability, most musicians that go on to make it will have had contracts dangled before them, only to have them cruelly snatched away. I have always maintained that the music industry consists of 90% disappointment and 10% exhilarating highs. Having said that it can all be well worth it. There can be few better feelings than playing live in front of a highly charged audience. The camaraderie that builds up with a group of musicians on tour is hard to explain to those that have never experienced it. Loading a transit van, with white knuckles, in the freezing Glasgow winter air, hundreds of miles from home and watching those little whirly ice patterns form on the windscreen as you drive home are experiences easier to reminisce about after the event.
The pit stops at greasy motorway cafes and the pre-requisite after gig post mortem. Getting home too late to make your day job and having to explain it away to the boss. All are character building in the extreme. I have made some life long friends through music and regret nothing. The lump of metal I call my saxophone has been the passport to fantastic times.
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