If a tree fell in the middle of a forest, would it gather any moss? Well, mixed metaphors is the stuff of nonsense that is the music scene. And in order to find any meaning, one has to delve behind the cacophony of words, and in Sheffield, there's no better man than Martin Lilleker to find out what makes the musicians tick.
Martin Lilleker is The Sheffield Telegraph's music journalist. He has the enthusiasm of John Peel coupled with the youthfulness of Fat Boy Slim, and he's been documenting the Sheffield scene since 1980. And should he ever be so unfortunate as to snap in two, I'm sure he'll have the word 'Sheffield' running through him like a stick of seaside rock. Whether it's due to his incisive reviews, the interviews, his own Sheffield orientated label 'Office Box Records' or his own musical attempts, there's just no stopping him. No other scribe has made so much effort to keep Sheffield music on the map. And now he's co-author'd a book on its early period. This man lives and breathes Steel town.
During a recent flash of cyber-connectics, I was able to speak to Martin and in so doing, turn the spotlight on to him for a change.
Carol Deene
First off, Sheffield itself; Martin believes that the current healthy musical activity within the city is reflected in the number of venues the city has, such as the Leadmill, Boardwalk, Grapes, Casbah and the University. These have all helped bands like The All Seeing I, Fat Truckers, I Monster, Twins of Evil and Kings Have Long Arms to develop from strength to strength. Also these bands give more than a passing nod to Sheffield's experimental 70's. So let's not forget one of the originators; the Human League, whose latest CD release had received favourable reviews. And then there's Pulp, one of the the city's main satellites and a stunning example of perserverance in the face of adversity.
With his moment in the spotlight, Martin was quick to publicise a few local bands who he feels have great potential for the future, sush as Chicken Legs, Hoggboy and Michael Eden, who with luck may become household names.
During a minor diversion down memory lane, we both regretted the passing into obscurity of the likes of Artery, I'm so Hollow and Dig Vis Drill. Each of them had promised so much, and were all eventually slaughtered on the altar to music.
THE LABEL - OFFICE BOX RECORDS
Not content with only writing about music, Martin became more active and created a record label to tap into Sheffield's rich stream of talent, that he felt the major companies had overlooked. As a label, Office Box's successes shone briefly but very bright during the period of 1983-85. It received a modicum of success for its offerings of vinyl; a compilation EP 'Four from the Floor' which featured The Surface Mutants, They Must Be Russians, Bass Tone Trap and Hula, then came two Elliott singles, one of which I was informed, had sold respectably well in Belgium. Finally there was still time for two EP's and an album from They Must Be Russians. I believe this to be a respectable roster by anyone's standards.
Martin seems to eat and breath . . . well, you get the idea. So it's no surprise to learn that there was also a band lurking in his past.
THE BAND - THE WEALTHY TEXANS
As co-writer, co-vocalist and guitarist, Martin and his fellow 'Texans' created an earthy rawk sound drenched in gravel pit rhythm. Having been around for a number of years, their eventual CD entitled 'The Joy of Tex' surfaced in 1995, and was totally home grown, as it was recorded at Groove Studios in Sheffield, and later available on Nether Edge Records.
The Devil Chasers
THE BOOK - NOT LIKE A PROPER JOB (The story of popular music in Sheffield 1955-75)
To bring the story up to date, Martin decided to document Sheffield's grand musical story, and joined forces with John Firminger (ex- Cruisers), when they both realised that they were working on similar projects. Martin told me the book was essential from a factor of time, as he explained that although Sheffield had suffered very few rock casualties, time was moving on. During the five year period it took to research the book, at least 10 musicians had died. The book is a rollercoaster ride of styles that includes jazz, skiffle, beat music, soul, R'n'B and psychedelic.
In the beginning there was . . . the Big Band sound? "Not for very long" as Martin was quick to correct me. After the war (ask your grandad) the Big Band sound had been swept aside by the influx and impact of Jazz on the city.
Joe Cocker and Friend
To the outsider, sixties Sheffield was represented by Joe Cocker, who is still as busy as ever. Martin told me that Joe Cocker still has his roots in Sheffield returns frequently to his hometown. Martin also drew parrallels with Jarvis (his name sake) in that they both had kept banging away at the door of success for years beyond natural endurance, before it opened for each of them.
Obviously in the 60's there was more happening than Joe Cocker. The life and blood of the city were the clubs, as it still is today. Terry Thornton's Club 60 had acquired a reputation for excellence that had even surpassed Liverpool's The Cavern. Dave Berry described The Mojo as "wild and fashionable", and the Esquire as "sophisticated and jazzy", and there was the Black Cat, Peter Stringfellow's thriving club.
Dave Berry & The Cruisers
I had wondered whether there had been much crossover with the Working Men's Clubs, but Martin assured me that times hadn't changed. Back in the midst of time the WMC's were still "a graveyard for many fine musicians, who were more content on earning an easy quid performing cover versions"..
The book climaxes in the 70's, the time when Sheffield fell into a major slump as club after club closed and real bands began to lose out to Disco.
During the research, Martin told me that he was glad to have had the opportunity to interview Chris Spedding, as he'd wanted to meet him for sometime. Also in a moment of possible insanity, he had persuaded McLoskey's Apocalypse to reform for one gig. Martin had seen them in his own early days, and had obviously been marked by the event.
BOOK RECEPTION
As with all books, there was the inevitable publicity launch, which was held at the Boardwalk. The place was packed with a veritable 'who's who' of Sheffield's glories. Martin described the event as having struck a chord with everyone, from the old musicians to today's young thing's, "They absolutely loved it".
Travellers Express
Furthermore the publisher, Darker Than Blue Ltd, released the book with an accompanying CD featuring many of the bands. As Martin explained, "The CD contains all original unreleased recordings from a 1957 skiffle band to Joe Cocker live". When asked if they are any future plans to extend the book in some way onto the internet, Martin stated that at the moment this was not possible, as there were so few out-takes that could be used satisfactorily.
What of the old boys then? well, they can't be silenced; John O'Hara (of O'Hara's Playboys - a phenominal band during the 60's) can be found playing regularly in a pub in Shalesmoor, Dave Berry even at 63 can't stop and Joe Cocker is still playing to the world.
THE FUTURE
Not one to sit idly by, whilst waiting for another band to track him down, Martin has begun on the follow up book and is currently researching the recent past with fresh eyes. The next book, provisionally entitled 'Better Than Work' (1975 - 82'ish), has a publication date set for at least a couple of years into the future. And I forsee no reason that can stall it besides world obliteration.
There's an Orwellian quote along the lines of ". . . whoever controls the past, controls the future", and I'm sure one day those good council folk in Sheffield will only be too glad that there are enthusiastic folk like Martin Lilleker around, in order to help them identify those musical landmarks that have helped make Sheffield what it is. . . vibrant. In the meantime Martin continues searching Sheffield's dark corners for further musical gems.
