Attempting to categorise a favourite LP,
artist or group is often a fairly meaningless exercise. What exactly is a
"folk-rock classic"? Or a "progressive rock masterpiece"? A "psychedelic
piece de resistance"? I’ve seen albums by Keith Christmas labelled as
being all of the above, and they may well deserve those exact accolades –
the trouble being that one well-meaning description could equally serve to
alienate a thousand other potential listeners. So, how best to try to
describe the musial landscape that Keith Christmas has travelled through
during the last three decades or so?
The simple answer is that for anyone
unfamiliar with his recorded history, Keith Christmas is without doubt one
of the finest guitar players around and one well worthy of your attention. I
consider myself lucky indeed to have found an album of his as long ago as
1971, and have followed his career with enthusiasm and pleasure ever since.
The release of a new album on Woronzow seemed like as good an opportunity as
any to interview him for the Terrascope – so here it is: the Keith Christmas
story as told by himself.
PT: How did the new LP for Woronzow come
about?
KC: I’ve known Adrian for nearly 30 years,
back to the early days of Magic Muscle when they moved into a farmhouse I’d
rented in Somerset and we all set up a commune in about 1973. We made
contact again when I moved back to Bristol 12 years ago. While we were
recently exchanging a round of e-mails Adrian asked me if I’d thought of
doing an instrumental album. It had crossed me mind a few times, but I never
thought anyone would be interested. I sent him a sample, and he liked it…
How would you describe your musical
evolution?
The first music I played was on a ratty
old acoustic of indeterminate parentage and was a mixture of blues from my
brother’s albums and Buddy Holly from an EP my mum had. I graduated to folk
songs, as folk was the big thing then. Bob Dylan, Joan Baez and Simon and
Garfunkel. I know being an early closet folkie with a wispy beard is a
shocking thing to confess – but no-one’s ever asked me before and I’ve never
told a living soul!
As soon as the late 60s hit, I started to
experiment more with tunings, timings and structures, and I made my first
album ‘Stimulus’ in London with Mighty Baby as session players. It was
atrociously produced and sold enough copies to make no difference tto my
lifestyle. My then manager Sandy Roberton chose the musicians and did the
arrangements.
The next two albums, ‘Fable of the Wings’
and ‘Pygmy’, followed the same sort of path but with a divide opening up
between my love of acoustic songs and the power and rhythm of a band. It was
particularly obvious on ‘Pygmy’ with one side devoted to full-on band
arrangements and the other purely acoustic, but with some wonderful string
arrangements by Robert Kirby who had just worked with Nick Drake and was on
something of a roll.
Did you work with Nick Drake yourself at
all?
I had the amazing experience of playing
with the London Symphony Orchestra live in the studio with Nick conducting.
Rod Goodway mentioned that you played at
the first Glastonbury Festival –
what are your memories of that?
I honestly don’t remember much of it. It
was just a little gig in a field and was pretty poorly attended in the
afternoon. I didn’t think it had much future, which goes to show how good I
am at reading the runes!
You did two more albums for Manticore?
Right, ‘Brighter Day’ and ‘Stories from
the Human Zoo’. They both had enough variation in them to totally confuse
any listening public as to an identifiable style. I suppose my style is best
described as formal, structured music in the classic verse/chorus/solo mode
but with just enough eccentricity to guarantee it will never appeal to a
mass market.
It was several years before you released
another album – what
happened after ‘Human Zoo’ when you all but disappeared?
I flew back to the UK in late 1976 from
Los Angeles with the masters of ‘Human Zoo’ in the overhead locker. I look
back on the years that followed with the sort of stomach-churning discomfort
which reminds me of what a crappy time it was – punk, Heroin, lager, rain,
football thugs and rampant inflation are my memories of that period. By 1980
any pretence of me still being a musician with anything to offer had gone,
and I went to work on a building stite for £20 a day as a labourer since I
was fed up with having no money.
You made a tentative return to the scene
with the ‘Weatherman’ CD, which was very different to what had gone before.
What prompted the change of style?
I went back to the blues when I started
again seven years later. I was finally settled by then, with an income and a
whole house to live in. I put together a part-time blues band called
Weatherman. I played acoustic guitar with a bit of slide thrown in, and
before you could say "Robert Johnson" I had a deal with Run River and in
1992 released another CD to add to the collection. It was the first album
that I was in sole charge of and it was a great experience, especially as
some of the tracks I still measure as the best I have ever made. I produced
it with the help of Andy Allen, owner of the Coach House studios in Bristol,
who got a great sound from the quipment. We played clubs and the odd
festival like Farnham Maltings but after a while it started to fold and was
obviously going nowhere. I then had a nasty "growing up" phase and started
writing a much more mature type of song. Before you could say "Which way to
the accordion workshop?" I got another deal, this time with HTD Records.
"We’re a folk label," they said, and I duly obliged.
You and your wife Julia also performed as
a duo?
Julia: That was a first for me. I’ve
worked solo, with bands, with an orchestra and in a choir – but I think a
duo is more demanding as we have to totally rely on each other. I realised
I’d need plenty of determination and concentration, as Keith’s songs vary so
much in their arrangements, range and harmonies. He’s a superb arranger, but
also a perfectionist. We’d work on one version of a song and try it out at
gigs and inevitably Keith would want to change it. At first I used to feel
like killing him, especially when I’d only just mastered the part, but he
was usually right and the final version was always better!
What are your thoughts on the pros and
cons of playing as a solo artist, in a duo or as a member of a group, Keith?
I’ve known or played with many band
musicians – some famous, like George Harrison, Alvin Lee and Greg Lake, and
some legendary session players like Steve Cropper and Duck Dunne – and I can
honestly say I think they all had an occasional sneaking desire to revel in
the freedom of being a solo performer. You never get the whole meal on a
plate – if you play in a band you have everyone else’s egos clashing with
your own enormous one, and if you play solo it gets dead boring just
listening to yourself. None of the line-ups of the first three albums (for
Manticore) played live, which pissed off people who bought the albums and
ended up seeing one guy on stage. It also pissed off all the loyal followers
who saw me playing on my own, bought the albums and would up with an
orchestra, a choir, a soul band and two dogs barking!
Shelagh McDonald covered some of your
songs – how much were you involved in her album?
I first saw Shelagh at the Troubador in
Bristol in about 1968. I thought she was an outstanding player and writer
and was on her way up. I met up with her again a couple of years later when
I was doing my second album. I’m pretty sure I put her name in Sandy
Roberton’s ear which led her to a two album deal.
You also worked with David Bowie
– is it true that you played
guitar on ‘Space Oddity’?
I met David Bowie because he ran the
Beckenham Arts Lab, another name for a very happening acoustic music club
which met in the back room of the ‘3 Tuns’ in Beckenham High Street. I was a
guest there and he played a bit of 12-string (pretty badly!) and was MC.
He’d already had a single released with his band the Lower Third by then.
When he did his first album there wasn’t enough budget after the excesses of
making ‘Space Oddity’ for the single, so for a number of tracks it came down
to him and me sitting together in a cavernous studio in London playing
acoustic guitars and him singing live. We met again around the time of the
‘Diamond Dogs’ album, when he flew me to New York to audition as electric
guitarist for the upcoming tour. Electric was never my bag but I wasn’t
going to turn down a trip like that! We did some clubbing and met a lot of
fine people and that was that for another few years when I got a mysterious
phone call in the middle of the night (he had people who could find
anybody!) to go to a studio and play some guitar. I can’t remember when it
was – possibly the late 70s or the early 80s – or which album resulted, but
I played on some tracks for around 3 hours. Suddenly he said, "Thanks – OK"
and I sat and listened while he copied one of my licks to perfection on his
own guitar. I’d seemed to have become invisible so I quietly walked out into
the dawn and back to the grotty little bedsit I was in at the time. That was
the last time I ever saw him.
Is your perception of what constitutes
success now different to when you started your career?
When I was younger I only wanted
recognition. This is a poncy therapist word for fame, which is a drug –
especially desirable to the young since you can have all the life experience
you can get your hands on, pretty much for free. These days I have mixed
feelings about ever going back on the road again, although if it ever became
a viable financial option I’d definitely consider it. The success I would
most like now is to have a song published and to be recognised as a
legitimate writer. That’s the quiet kind of glory I would prefer.
Keith Christmas was interviewed for the
Terrascope by Robby Lewry.
(c) Ptolemaic Terrascope, August 2001