But, I shan’t begin that
way:- instead I shall let Paul Riorden tell the story himself, as guided by
the expert hand of Mr. Saloman way back in November of 1991.
PT: Where shall we
start? I believe you only had the one single...
Paul Riordan: One single
release, recorded at EMI’s Abbey Road, two tracks.
The strange thing is,
the Mandrake Paddle Steamer nowadays have the reputation of being the
archetypal slick British psychedelic band. How did it all happen? Were you
playing in other bands prior to the Paddle Steamer?
Mandrake was centred
around Walthamstow Art College, the nucleus being Brian Engel [drummer] and
[guitarist] Martin Brierly. I was playing in cover bands in the Ilford area
and I got a ’phone call one day saying, “We need a bass player and we’ve
heard that you’re the best one in Ilford... we’re playing next week at the
Walthamstow College, can you help out?” So, I learned all the songs in a
week and we did a support gig at the college - it all happened very quickly.
Did you just gig around
the London scene?
The Mandrake Paddle
Steamer were involved in a lot of the college stuff that was happening. I
think that after the first few gigs we started all working together. We had
a keyboard player and a drummer, and used to rehearse in Lambourne End. The
drummer’s parents had a huge house with a garage, so we could make as much
noise as we wanted. Every night after work we would go down there and work
out a set. The gigs were quite infrequent, until we got ourselves a manager
who started hustling for work. We did a few support slots, the first one I
think was for Pink Floyd. We got quite a lot of work out of that.
Was Syd Barret still
involved with the Floyd at that stage?
I think it was one of Dave
Gilmour’s first gigs.
So this would be early
in 1968 then... who thought the name “Mandrake Paddle Steamer” up,
incidentally?
As far as I know it was
Brian Engle and Martin Brierly.
And once you were
established, you were off on the circuit, supporting bands and gigging
around in the usual way?
Yeah, and we also used to
run a place in Streatford called ‘Asgard’, because we were very into the
Viking scene, everything stemmed from that. Brian was heavily into ‘Ride Of
The Valkyries’, so we used to do the Asgard Club every Friday night. We had
‘Pale Green Limousine’ do the light show. When we were booked to gig
elsewhere we were approached by someone asking if he could run it, and that
was Paul Fenn who now runs Asgard.
Was that in the Railway
Hotel?
Yeah, Sam Apple Pie used
to do the nights we couldn’t do, various other bands were involved as well.
There were a few bands
that came out of that scene - Creation/Eddie Phillips for example.
We didn’t really know many
other musicians, we were just tucked away writing and hoping that something
would come of it.
How did the record deal
come about?
I was working in Town and
I got to know someone who was working for Polydor, she in turn knew someone
from Shapiro and Bernstein and they got EMI interested in us. We didn’t have
a clue about business at all. They just signed up all our tracks, put us in
a studio and we recorded about eight songs in a day. Somewhere there’s a
tape with all that stuff on [which subsequently became the LP ‘Mandrake
Paddlesteamer’]
Do you remember what
tracks you did?
I used to love a number
called ‘Blitz’, one of those numbers which turned out different every night.
There was a verse and chorus at either end which used to lead on to avant
garde improvisation. There was also an instrumental called ‘Slo Blo’, I
think that was on a BBC session with John Peel.
From what I know of the
Paddle Steamer, there was one called ‘Senlac Lament’, ‘The Ivory Castle of
Solitaire Husk’, ‘The World Whistles By’...
Yeah, that was quite
strange, we had at that time an instrumental version of ‘Carmen’ which was
our finalé number - quite a dancey thing, unfortunately we gained a
reputation for doing that. Once we'd done it once or twice we used to get
requests for it, and since it was our encore number it sort of started
sending the band in a different direction - I think it was the wrong
direction really.
Your single actually
came out on the Parlophone label, which was a bit of a surprise?
We were promised to go
onto Harvest because it was what we were all about, unfortunately though
because we weren't managed by anyone with any substance it was never really
pushed. We just let them do what they wanted. The week that the single came
out, the total advertising was one three inch high advert in Melody Maker.
That was it.
It always baffles me as
to why labels sometimes sign up bands and then choose not to promote them at
all. It was a one off single deal, no album or anything?
That’s right, we just
didn’t have that side of it together at all - we just concentrated on
playing live. After the single we just carried on as normal doing gigs. I
can’t remember how long the five-piece band lasted, but it soon folded into
a 4-piece when Brian Engel the vocalist left - it was then that we changed
the name to just ‘Mandrake’.
Did the ‘Paddle
Steamer’ bit go because it was seen as being a bit passé? A lot of bands
wanted to drop the psychedelic tag and become “progressive”.
What was happening was,
heavy music was coming along and we were being told to go ‘heavy’, but we
weren't really into it. Martin Brierley then took over as the main
songwriter; he was quite a commercial songwriter, very attractive songs -
his style of guitar playing was like a turned-on Hank Marvin, very clean-cut
- so the material started to go in that direction, one which had no bag.
Sort of “psychedelic pop”, which couldn't be placed anywhere at that time.
You must have done some
very memorable gigs?
We did some gigs in
Germany, in fact we used to backwards and forwards to Germany and
Switzerland quite a lot. We did some gigs in Montreal supporting the
Vanilla Fudge, we did the tail-end of their tour which was fantastic! We
supported the Floyd two or three time I think, did some good nights at the
Lyceum supporting Free, had a spate of supporting the Nice - because we did
this ‘Carmen’ number we were on a par with Nice, the keyboards were slightly
classical-based.
You mentioned earlier
that your tape machine was on loan from Dave Gilmour - does that
relationship stem from those times?
No, I didn’t know Dave
then, I only know him vaguely now because I worked for the Floyd from 1979
to ’83. I looked after Dave’s guitars and got his guitar collection
together. The roadie that I was using in a band that I joined after Mandrake
split, he knew that I was heavily into guitars and said “we’re looking for a
guitar man...”, and so I got involved in building up Dave’s guitar
collection.
Going back to the
1970s...
Well, we were a four-piece
with Martin Brierly as main songwriter. After two years of doing the Star
Club in Hamburg and various gigs/colleges, Martin left to join Greenslade as
bass player and from that he joined Mick Ronson and from that he’s gone on
to doing his own albums. I think he played guitar on a Julian Lennon hit,
and I’ve since noticed that he’s written a couple of tracks on a Jeff Healey
album.
So what happened to the
remaining three members?
We got quite a heavy
drummer in after Brian Engel left, and then Barry Nightingale left as well.
Getting a heavyish drummer in was a bit of a mistake, because it started to
send the music in that direction. It started going all out for excitement at
live gigs instead of any subtlety and eventually we ended up as a
three-piece, Martin Hoover on keyboards, me on bass and David Potts on
drums. No guitars! I think we carried on playing live, just a gigging band
with no intention of ever getting a record deal.
Looking through the
magazines of the time, there were no interviews or anything really...
No, we never got anything
in Melody Maker, basically because of a lack of management. Really we just
thought we’d write songs and get the band together and then someone would
come along and handle that side of it for us. But they never did...
After a while, things
weren't going anywhere so you split?
Well, Keith Cross came up
and saw a gig and stole me as his bass player. I was most impressed because
they actually had a manager.
Were you in T2 then?
No, not in T2, this was
after T2 split up. In between T2 and Cross & Ross, just with Keith Cross. I
think we recorded a few things and tried to write stuff which didn’t really
happen.
What about the Mandrake
stuff that's recently appeared, tracks like ‘Pale Green Vauxhall Driving
Man’?
That’s from when Mandrake
was a three-piece, I think Martin Brierly and Brian Engel got together and
got a deal with Air and were producing some good commercial songs.
So that’s why these
tracks don’t sound like Mandrake Paddle Steamer - it’s just Engel and
Brierley putting out these poppy type songs rather than the three-piece
Mandrake.
That’s right, I think it
was members of the original band trying to get something together and being
led into a very commercial direction. After Keith Cross, I just kept my head
above water as a musician. I did quite a lot of auditions, managed to get in
with the Marquee Agency and from that played bass with Dave Elliott, we did
the last European tour of King Crimson. I took various different gigs as a
bass player right through the ’70s, did a few sessions and TV commercials
and then gradually swapped bass for guitar, and I’ve now started working as
a guitarist. After the Pink Floyd experience I became more and more involved
in the guitar.
And more recently
you’ve been doing these Library LPs?
That stemmed from being
asked to do TV commercials, getting more involved in that and finding out
that you could actually produce music that you wanted to produce and get
paid for it! At the same time I’ve still got a band happening, called
Disciples.
Regarding the film
library stuff, there’s a lot of late ’60s and early ’70s library material
which is incredibly sought-after, things like Conroy and the Roland Kovac
Set - quite an interesting area that people don't generally known much
about.
When you mention library
stuff to most musicians they go “eurgh!”, but generally it’s got a bad name
because people tend to give their failed songs to library companies - you
don’t get any mechanical rights, just paid for the amount of time used,
therefore you’re recording for no cost. They cover recording and pressing
costs and if the company use it, then they pay you. I put my heart and soul
into my stuff, but then again I hope it gets used by people who maybe like
music with heart and soul in it.
You say you’re gigging
with a band called Disciples, I believe you were gigging with another band
before that as well?
No, I was just doing solo,
John Martyn stuff. I did that for a year or so as a support act. Disciples
is me writing with a Canadian songwriter who lives in Walthamstow, he came
over here because he didn't like the scene in Vancouver. We met and got on
like a house on fire - I’ve always been writing instrumental stuff and he’s
a lyricist. It’s a five-piece band which has just started doing gigs,
Dingwalls and the Mean Fiddler, places like that.
Interview: Nick Saloman
(1991). Article: Phil McMullen (1996)
© Ptolemaic Terrascope
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