All Shook Up – Lichfield Garrick Theatre

I was too young to appreciate Elvis in his pomp. Yet his music, and celebrity, is ubiquitous, and a little distance is no bad thing, providing context and time for balanced appreciation. When he burst onto the scene he was an enfant terrible, now his country and gospel roots make him seem decidedly mainstream. An integral part of the story of pop.

A jukebox musical, “All Shook Up” was first performed in Chicago in December 2004, before transferring to Broadway the following year. It did not last the summer, and has been largely forgotten. But Sutton Coldfield Musical Theatre wisely reasoned that with the greater acceptance fourteen years later of the jukebox genre, an iconic popular star, a rich songbook, and plenty of rock n roll dancing, they should revive it.

The story loosely draws upon “Twelfth Night”, but in truth the narrative is Much Ado About Nothing, apart from the music – which is what the audience have come to see and hear, and is where the show’s strength and power lies. It is like watching one of Elvis’s own movies, but live and in colour with glossy production values, and songs just bursting to be sung. There is a lot of music to cram in, an Elvis fan pleasing 30 musical numbers, including reprises.

The links between the songs are that Chad stops by a small town to get his bike repaired. While there, he shakes up the dreary lives of the town’s citizens, reprising the theme of Synge’s “Playboy of the Western World”. Soon everybody is falling in love with someone who loves somebody else. But not so irrevocably that a song cannot come to the rescue, and all the couples naturally find happiness in time for the finale.

A strength of the show is that this is not an Elvis showcase, with its success dependent upon an Elvis impersonator. Chad, the lead character, is a sexually-charged, leather-jacketed motorcyclist. But there the familiarity stops in a shrewd piece of casting by Director Elisa Millward. Adam Gregory has light, not slicked back black hair. He has plenty of verbal swagger, but much of it is comic, and he plays the part in a self-deprecating, self- effacing manner. Confident and assured, he allows others around him plenty of space to shine, performing the songs as himself, not in Elvis imitation. It works, much credit is due to Millward and himself for pulling it off.

Opposite Chad, Lucy Surtees plays love interest Natalie/ Ed whose slender good looks have to be concealed until the final scene. She convinces as Ed, as well as Natalie, having to move from awkward tomboy, to awkward teenage boy, to bombshell beauty at the close, doing all with consummate skill.

Two comic parts provide the evening with some essential levity, Tony Orbell delights as gawky, gangly nerdy Dennis, and sideman to Chad. Louise Grifferty has the most fun as the kill-joy Mayoress in a portrayal which wickedly mixes Miss Hannigan with Cruella de Ville, and ends with a liaison with her security which will have been familiar to anyone watching Jed Mercurio’s Bodyguard on BBC1.

Sheila Pearson has done a tremendous job as Musical Director. It has been adapted for musical theatre, choral parts, and female leads, without neutering the spirit of the original arrangements. Her ten- piece band is so accomplished, Elvis himself would surely have engaged them, a four piece brass section combining with the wood stage to produce a gorgeous, rich, timbre.

An advantage of amateur productions is the ability to produce large cast numbers at relatively little cost. Pearson draws out some powerful chorus work, while choreographer Maggie Jackson has a field day with Rock n Roll dances galore, plenty of flared skirts, and an unusually sharp front line, which sometimes was part of an all singing, all dancing, forty strong ensemble. The lead vocals are liberally shared with not a weak link in earshot.

The score is commendably eclectic. Of course we hear “Jailhouse Rock,” which opens the show revealing an impressive jail set pleasingly realised by Production Manager Paul Lumsden and vibrantly lit by Steven Rainsford. “Heartbreak Hotel,” “Teddy Bear,” “It’s Now or Never,” “Love Me Tender,” “Can’t Help Falling in Love,” and “Burning Love” follow, but the song driven narrative requires some quirky selections to develop the story. Thus, we are also treated to lesser known material such as “Roustabout,” “Follow That Dream,” and “I Don’t Want To,” from the Girls! Girls! Girls! soundtrack.

Acting demands are slight, if in doubt say it in a song, and they do. The set up for “It’s Now or Never” is so cheesy that every one of the audience could have had an omelette, yet it is done with such panache by the cast that it evokes a smile not a groan. By contrast, the fairground dance sequence is razor sharp, economical, and straight out of Grease, I could have sworn that Olivia Newton John was up there somewhere! However ” C’mon Everybody” is the night’s big production showstopper half way through the first half.

The enthusiasm, vim and brio of cast and musicians swamp the auditorium, by the end the contagion is complete, with no chorus not sung along to, no foot not tapping, no hands not clapping along. Above all, it is great fun, a lavishly, brightly costumed, show which does great credit to all involved. “All Shook Up” was Elvis’ biggest chart record , inspired so it is claimed by a shaken up bottle of Pepsi. Glass bottles of Pepsi may be a throwback now, but the music lives on in this production, leaving cast, musicians and audience – all shook up. Runs until 22nd September.
Gary Longden


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Dick Whittington – Lichfield Garrick Theatre, preview.


Behind the Arras was honoured to attend a preview of this year’s pantomime, “Dick Whittington” at the Lichfield Garrick.

Local actor Sam Rabone, who hails from Streetly, is now not only the Dame, but also this year, for the first time, the Director for the show. Appearing for his third consecutive year, he should be able to find the stage door without directions and have a cheap taxi fare home. He is fitting this year’s pantomime between directing children’s shows in Dubai.


The cast without their clothes on!

The cast includes Katrina Bryan (CBeebies), and Ben Thornton, the show is written by Paul Hendy (Evolution Pantomimes), and produced by the same team behind the Lichfield Garrick’s smash hit pantomimes, “Aladdin” and “Sleeping Beauty”.


Katrina Bryan

Children’s television star Katrina Bryan stars as Fairy Bowbells, Joanna Hayward is her nemesis as Queen Rat. Katrina, is best known for playing Nina in the hit CBeebies series “Nina and the Neurons”, She has recently finished filming in Scotland for a new CBeebies family drama series called” Molly and Mack” about an 8 year old girl called Molly and her brother Mack, who is 18. The series is all about Molly’s fun adventures with Mack, her friends, and the eccentric but loving group of adults – one of whom is played by Katrina – who run the stalls in an indoor community market. It is due to be showing round about the time “Dick Whittington” is playing at Lichfield.

dick informal

Dick Whittington

The Garrick pantomime is rightly now a Christmas institution in Lichfield, Staffordshire, and beyond, always funny, quick paced and suitable for all the family.
“Dick Whittington” runs at the Lichfield Garrick from Thursday 29 November to Monday 31 December 2018, with a variety of schools, matinee and evening performances. Prices start from £15 for children and £19.50 for adults and can be booked online at or by calling the Box Office on 01543 412121.

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Jersey Boys – Wolverhampton Grand Theatre

On one level this is a very slick jukebox musical, but music has the capacity to take us to another place, which is exactly what this show does.

L to R Declan Egan, Michael Watson, Simon Bailey and Lewis Griffiths.  Credit Brinkhoff & Mögenburg. (4).jpg
First performed on Broadway in 2005, with music by Bob Gaudio, lyrics by Bob Crewe, and book by Marshall Brickman and Rick Elice, it ran on the New York stage until 2017, and has been touring across the world. It is presented in a documentary-style format from four seasons ( neat eh?). Valli is the voice. Gaudio the music. Massi the revelatory narrative.

L to R Lewis Griffiths, Michael Watson, Declan Egan & Simon Bailey in JERSEY BOYS. Credit Brinkhoff & Mögenburg 2.jpg
It’s a classic American tale- Rags to riches, and back to rags. In the early 1960’s the music was all, with little interest in, or investigation of, hit musicians . If the criminal records of the group, for which they had been imprisoned, had been known as they became famous, their careers would have been over. Their clean image a conscious attempt to distant themselves from their murky past at a time when popular music had a bad boy image, but little substance. As the show was being created, the production team were approached by family members of the late mob boss Gyp DeCarlo to ensure that he would be portrayed “ respectfully”.

The company of Jersey Boys. Credit Brinkhoff & Mögenburg. (5).jpg
However good the narrative, the show depends upon singing excellence and is well cast. Jim Gibbs, playing the role of Frankie, excels with his falsetto, Simon Bailey, Declan Egan and Lewis Griffiths, playing the other three Seasons offer pitch perfect vocal harmonies. Gibbs, an understudy deserves particular credit for filling big shoes effortlessly, and convincingly. He also delivered the stand out number of the night, a beautifully sung, and arranged, “My Eyes Adored You”. Musical Director Francis Goodhand ensures that all the songs have just the right light and shade to help them breathe, with modern technology offering nuances and depth not possible when the songs were originally written. A gantry and staircase provide a basic framework for the set, a video screen is used sparingly, and to great effect, particularly when some original footage compliments an onstage song.

pic g

Pre-show and full of expectation

New Jersey has been the crucible for several essential American talents, Bruce Springsteen, Count Basie, Jon Bon Jovi, Whitney Houston, Debbie Harry, Frank Sinatra amongst them. New York even more so. Springsteen’s autobiography tells of a time when music was playing all around him, influences were diverse and new, and everybody thought they could be a star. Basic recording techniques put an emphasis on songs that were simple and catchy and there was a thirst for more of this new music. It was a heady time, and one which nurtured the Four Seasons.


The original Four Seasons

Hit songs assail the senses with astonishing speed, the narrative provides a pace rarely seen in jukebox musicals, and the finale works splendidly as each Season checks out from the stage eschewing the normally obligatory extended greatest hits mash up. This is a fine show, which does justice to the music, the musicians, and the time. A full house offered a deserved standing ovation at the close. Jersey Boys runs until September 8th.

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Bruce Springsteen- Born to Run The Autobiography

I first came across Springsteen when the music press adverts and billboards appeared proclaiming him : “The future of Rock n Roll”. It was a bold claim. It turned out to be justified.

I tried to buy tickets for the legendary Hammersmith Odeon shows, but for once, I was unsuccessful, instead having to settle for the album, which sounded like nothing I had ever heard before, and the distillation of everything I had heard before at the same time. The master musical alchemist at work creating ethereal magic from mundane earthly materials. That was 1975. Forty -three years later the legend that is Bruce Springsteen endures and flourishes, one of a handful of American Rock stars who still mean something. With Tom Petty gone, only Neil Young remains as a peer. Some ten years my senior, he felt like an elder brother. He looked cool. The cover photo of him and Clarence Clemons was striking, even then. The scrawny white guy flanked by a saxophone toting black behemoth. Bruce himself looked like an extra straight out of Scorsese’s “Taxi Driver”.

I love and loathe American rock simultaneously. At its best, with the likes of Springsteen, Young, Petty, Dylan and Lynyrd Skynyrd, it has a pivotal place in modern Western popular culture. At its worst, with the likes of Foreigner, Journey, Kiss, Toto, Aerosmith, REO Speedwaggon, and Boston, it is an empty, soul less derivative shell. Springsteen pretty much defines what the best of American Rock is. His influences oblique and well chosen.

I approached his biography with caution. Rock biographies, and auto biographies, are generally dreadful. My fingers had been well and truly burned recently with Steve Jones, David Bowie, and Morrissey biographies, each desperately disappointing for different reasons. It took me two years to buy a copy. Why? I did not want to be let down. The genre is flawed. I did not want my high estimation of the man sullied. But perhaps most of all, through his music I felt that I already knew him. That he had said all that he had to say through his songs. I was wrong.

At just over five hundred pages, this is not a quick read. Yet not a single page is wasted. We do not reach “Born to Run”, the commercial year zero for the man, for some two hundred pages. As a rule, I skip artists descriptions of their childhood, they do not interest me. This one did. Springsteen combines a colourful, insightful prose style with the vernacular. It quickly becomes apparent that this is no ordinary auto biography. Reading the words are like reading the lyrics of his songs. His personal insights become universal ones. His gift as a songwriter is drawing you in, you believe what he says because he is articulating either how you feel, or how you would feel if you were him in that situation.

Kiss and tells, excess, drink, drugs, sex, wasted money, sharks and victims are the lingua franca of most successful rock books. Here Springsteen demonstrates enormous restraint. Some might harbour a grudge with a manager who essentially took the band for half a million dollars. Not Springsteen. Instead he goes out of his way to tell things from ex manager Mike Appel’s perspective. His first wife? Not a bad word to say about her. Miami Steve’s departure from the band? He understands. What we find is a man at peace with himself. The only conspicuous indulgence is summonsing Sony’s private jet to take him and his family to New York after an LA earthquake. Not once does he talk about security guards, instead only of when the NYPD refused the band a post gig escort because of their umbrage at “American Skin”. Instead he hops on a motorbike with friends, connecting with the landscape and the people that inhabit it.

As a fan, particularly a young fan, the process of writing and recording music is taken for granted. It should not be. Great music on its own is not enough. Production is all. What impresses is his fanaticism at producing the best song, vocal, arrangement and production possible, even if that process takes years and swallows up as much money as he is making. It also become clear that this is HIS band, the rest hired hands, loyal and essential, but hired nonetheless. Not in a superior sense, his appreciation of the band members is fulsome, but in an understanding that he needed the job done, his way.

He does not have a bad word to say about anyone, and his appreciation of deceased band members Danny Federici and Clarence Clemons is warm, poignant and respectful. Sometimes you have to read between the lines. Miami Steve’s ego is handled respectfully, Federici’s addictions, sympathetically. Lavish entertainment for his family, and looking after his parents is implicit, rather than explicit. Memorably his explanation for the consistently high octane shows that the band delivered is explained in three words, “I make them”. In his flirtation with Jake Clemons to join the band the demands he puts upon all who play with him are uncompromisingly laid out, as is his understanding of what every song, every guitar and sax solo, means to the fans. His depression is laid out starkly, the depths previously unmentioned. There was also a tacit admission that the highs and lifestyle of the road are so intoxicating that ordinary life just doesn’t suffice – when even the kids no longer need to give you a lift in the car. Yet it is that everyday description, that any empty-nester will recognise, which is a secret of his success. At all stages of his life he can communicate the human experience in lyrical prose, with broad brush strokes that anyone can recognise and associate with. Bruce reveals himself to be a man who you could have a beer with, shoot some pool with, ride the trail with, or just sit on the boardwalk and pas the time with.

With Nils Lofgren (l) and Miami Steve ( R)

He does not spend much time telling the story behind the songs, I suspect that will be in another book, but he tantalisingly reveals that there is more music in the vaults from the “Tracks “era. He also makes no mention of the Jim Steinman connection with whom he reputedly used to visit the opera with and for whom Roy Bittan and Max Weinberg played on the huge hit album “ Bat out of Hell”. When Bruce yells “There is an opera out on the turnpike, there is a ballet being fought out in the valley” in “Jungleland”, it allegedly acknowledges Weinberg. Is it a case of stories being held back? Or of “if you don’t have anything good to say about someone say nothing at all”? Roy Bittan is not nearly as prominent as I would have anticipated, Gary Tallent fleetingly namechecked. But perhaps that is the point? This is Bruce’s band, Bruce’s book. He also clearly needs the fame, the adulation and the popularity. His least popular “Lucky Town” and “Human Touch albums, which I think have considerable merit, are passed over

When I reluctantly turned the last page on this book I was sad it was over. I felt as if Bruce had been speaking to me for five hundred pages. I felt as though I had grown to know him better

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Limehouse Lizzy – Flowerpot, Derby


I first saw LL almost exactly five years ago at the Assembly Rooms in Tamworth. They have now been touring for twenty- five years. Thin Lizzy toured for seventeen years. As custodians of the music, Limehouse Lizzy can lay claim to the songs even more strongly now than the original band!

At the heart of the action is Wayne Ellis who has bulked up considerably in the time since I last saw him. As muscular as a cage fighter, the packed house on a hot summer’s night (yes we did Dance in the Moonlight) was red hot (I mean steaming), causing a perspiring sheen to glint on his muscular exposed biceps, much to the excitement of the ladies.


The set opened to a blazing “Jailbreak” and never looked back, a greatest hits set culled mainly from the seminal “Live and Dangerous” album, augmented by some judiciously chosen album tracks the best of which was “Opium”. Visually pleasing, but not clone like facsimiles of the original band members, the spirit of the band, and the music, was captured perfectly. The ubiquitous “Boys are back in Town” and “Whiskey in a Jar” raised the roof at the end, but for me “Don’t Believe a Word”, and particularly “Are You Ready”, were the rockers that really rocked. The latter is a hermetically sealed explosive charge which ticks, goes off, and is then gone. A perfect pop song. The former I have always found multi layered, and Ellis skilfully squeezes the ambivalence out of the lyrics. Is it a laddish, misogynist taunt and boast? ( you know you’ll want it anyway). Or is it an elegiac paean from a man who cannot settle down, a cri de Coeur warning someone whom he knows deserves better?

A tremendous show, at a great venue., and credit to the sound man, loud, clear, no distortion, no deafness until the following morning!


My only gripe was time. I thought a 9.30pm start was late for a band that plays a long two hour set. But with an electronic timer on stage that barely touched fifty five minutes before the break, they then had to gallop through the second half which finished a few minutes after 11.30pm as they were being told to hurry up. Two highlights of the Tamworth show, “Still in Love with You” and “Parisienne Walkways” were not played, nor replaced by something similar, denying the guitarists a bluesy work out opportunity. The second half, for all of its glory, felt as though bits were missing. The promoters should set a start time sufficient for the band to play a full set. What happened on Friday left frustrated fans, and I suspect frustrated band members.


Despite this the set was fresh, interesting and vibrant. I would love to see them do a mash up of “Rosalie” with Springsteen’s “Rosalita” not least because it would make further use of the excellent sax player who guested on “Moonlight”. I look forwards to seeing them again soon- so should you

Gary Longden

For the review five years ago:


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Sutton Arts – 2018/19 Programme Previewed

I have a soft spot for Sutton Arts theatre. It is intimate at just over a hundred seats, well maintained, with a generous bar area, has good car parking nearby, but crucially offers a strong programme, with varied directors. A new season is always to be looked forwards to, what follows takes a look at what you could be taking a look at over the next twelve months:
Fame 21st 30th June
The mid -summer musical is now a traditional event at Sutton Arts. Despite the physical logistical hurdles of a theatre ill-designed for musicals, they have consistently triumphed, not least with “West Side Story”.
“Fame” has much to commend it, a classic title song, a gender and ethnically diverse cast, an upbeat message and lashings of feel good joie-de vivre. Husband and wife team Armstrong / Whitehead are seasoned technicians at producing big shows on a small stage. Popular with schools and amateur theatre, this is a sure-fire hit.
However, it is not without its challenges. There are three “Fames”, the film (1980), television series (1982), and musical (1988), which itself has undergone several revisions. From inception it is nearly forty years old now. To put this in perspective, Oklahoma! was appearing for the first time the same number of years before “Fame’s” premiere , as there is between now and when “Fame” first appeared. The X factor, BGT, So you Think You Can Dance all offer a modern take on fame which was unknown back then. Of course you can reimagine the setting, but you cannot reimagine the songs, just rearrange them for modern ears.
Will we be offered a period nostalgia show which risks being dated, or a reboot which risks being unfaithful to its roots? Or will Dexter and Emily weave their magic somewhere in between? It will be worth finding out.
And Then There Were None 30/8- 8/9.
Agatha Christie, like Alan Ayckbourn, has an audience. “And Then There Were None” sticks to a formula, and does it well. It is unlikely to attract a fresh, but will satisfy its existing, audience. Dexter Whitehead directs again
Rabbit Hole 18th -27th Oct
This production, directed by Louise Farmer and Faye Hatch is what delights me about Sutton Arts. Tissues will need to be supplied with each ticket as this is a tear jerker, a study of the pain of others, that will resonate with anyone who has experienced close bereavement. The plot of “Rabbit Hole,” by David Lindsay- Abaire,centres on the impact of the accidental killing of a small child, redemption, grief, and coming to terms with loss. Which sounds gloomy, but it isn’t. So sharply entertaining is the script, such is its honesty and accuracy that it succeeds in engaging, rather than overwhelming, laced with some tension releasing humour. When it was performed on Broadway, Tyne Daly, of Cagney and Lacey fame, was inundated with plaudits.
The mundane opening prepares the ground for what is to come. A woman is sorting laundry with her sister. But a loud silence pervades the room. While the talk is inflected with the ritualistic familial rhythms of fondness and annoyance, the strain of something unspoken pulses. It takes you perhaps five minutes to realize that the child-size clothes the mother is folding with such mechanical efficiency belonged to her son, a 4-year-old boy named Danny who was struck and killed by a car eight months earlier.
Every action, big and small, and every word that follows are informed by our awareness of the characters’ awareness of Danny’s death. Grief has obviously not brought the members of Becca’s family — including her husband, Howie, and her mother, Nat — closer together. Sorrow isolates them. Anything that anyone says is almost guaranteed to be the wrong thing.
A bold choice , a challenging play, I can’t wait.
Dick Whittington 8th – 22nd Dec
The Armstrong/ Whitehead nexus reconvenes for Panto season which runs before Christmas. Sutton Arts know how to produce a traditional pantomime, and Dick Whittington is one of the stronger panto stories. Expect plenty of “Dick “jokes”. It is always good. It is always well attended. It is always a joy. It is invariably more satisfying than more expensive shows at larger theatres. They know the formula – they deliver.
Ding Dong  24/1- 9/2
A Marc Camoletti ( of “Boeing Boeing” renown) farce. The plot follows a husband who finds out that his wife is cheating on him and decides the perfect revenge will be for him to sleep with his wife’s lover’s wife. Camoletti is good, devotees of farce will not be disappointed.
Jerusalem 14th -23rd Mar
Like “Rabbit Hole”, another inspired selection by the programming team.
Written by Jez Butterworth it is an homage to England, full of bombast and rooted in a sense of place: England. Butterworth’s Jerusalem is not to be confused with the 2005 play of the same name by Simon Armitage. This will be one of Director Dexter Whiteheads’ biggest directorial challenges.
It is a chronicle of us, now, a tale of identity and nationhood and belonging, set in a fictional Wiltshire village on St George’s Day. It merges myth and legend with the here and now, it hints at why “Jerusalem” is sung most vociferously by middle aged men with red chests, and pendulous beer bellies.
A play about nationality in a multi- national country will always be controversial, “Jerusalem” will attract and polarise in equal measure- it will not bore.
Gin Game 24th April – 4th May
D.L. Coburn’s 1978 Pulitzer Prize winner, written in 1976, is a two-hander about a pair of retirement home residents who banter and bitch away their hours at a card table. Rose Manjunath directs, I am sure she will relish being involved with a play with so small a cast, and relatively light narrative, which depends upon acting and performance.
The play premiered on Broadway in 1977 and borrows thematically from the contemporaneous “On Golden Pond”, it is also colour blind, providing maximum flexibility on casting save for gender and age.


With little action, apart from the drama of The Gin card game humour becomes all important for the two demanding parts assumed by the actors, initially the proverbial odd couple, for whom friendship is found, as mutual understanding grows. The Card game is also used as a metaphor for life as a game of luck and judgement, as well as more familiar reflections about the place of the elderly in society.
There are elements of both “Driving Miss Daisy” and “Visitors” ( the latter brilliantly done by Barry Atchison a couple of years ago) in this play, Manjunath relishes this sort of production, I am sure it will be excellent.
Guys n Dolls 13th -22nd June
One of the great musicals, a certified classic which I cannot wait to see, even though it is a year off as I write. Great songs, great characters, great feel good show, sit back and enjoy. Armstrong / Whitehead will be Rocking Your Boat.




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The Age Of Bowie – Paul Morley


Time dulls the memory, sometimes for the best. Bad meals, bad holidays, lost love, time has a way of neutralising those memories. Sadly, it also dulls the memory of bad rock critics. I had forgotten what a pompous, self-important, narcissist Paul Morley was until I started to read his book on himself, on Bowie. Bombastically the dust cover carries a quote that Morley is the Bowie of Rock writing. Wrong.

I am a similar age to Morley, and have been a fan for a similar period of time. If I had wanted to read a book about Morley, I would have a choice, instead, he inflicts his own turgid, mangled, personal stream of consciousness, occasionally bringing Bowie into the process under the pretext of writing a book “about” Bowie. At 480 odd pages it is long, yet it is short of anything new or insightful, instead it is regurgitated, reheated, pap.

There are errors. “Alabama Song” was not performed on the Isolar/ Station to Station tour, “Jean Genie” was inspired by a John Lee Hooker riff, not a Muddy waters one. But for a book so long, there is so little new. A first person interview with Peter Frampton’s Dad, Bowie’s Art Teacher offers a glimpse into what might have been. Otherwise there is nothing. The list of those who could contribute insight is long, Duncan his son, Imam his wife, Angie his ex -wife, Tony De Fries his ex -manager, numerous band mates, particularly Woody Woodmansey, Tony Visconti, Carlos Alomar Earl Slick, Peter Fripp , Iggy Pop, and Adrian Belew and long time friend George Underwood amongst them. That would take time, effort, persuasion, money, and be about others, instead Morley rattles this off in ten weeks.

Ignore the puff piece quotes on the dust cover, do not waste your time by buying, or reading, this book- unless you are Paul Morley’s mother.

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