Oblivion Express

Oblivion Express - Album Back Cover It was 1975, I had been playing in many bands by now and I would do almost anything for a quid. The Melody Maker was my lifeline in those days, as it was for many musicians hoping to get on. It was a great paper that provided both information and contacts. I was lucky enough to find an agent who used to get gigs in pubs and clubs. In those days there were no drum machines and drummers were in demand. It was the best way of learning; I could be playing jazz one night and country the next. I got used to just turning up and doing it with no rehearsal and most of the time things turned out great.

At this time I was also involved with a group of young jazz players called The Musicians Cooperative. There were some great players involved and we would play in many London venues like Ronnie Scott's.

I was still living in Crouch End and I used to practice for hours trying to get things right. During a break there was a knock on the door and there stood a young black guy with white hair. His name was Jimmy Haynes, he was a guitarist with the Equals and he had moved in across the street and wanted to see who was making all the noise. Jimmy and I quickly became good friends. He turned me on to Sly Stone, got me some great gigs and introduced me to many people including PP Arnold and Fuzzy Samuels, who played with Stephen Stills, and Doris Troy. It was through Doris Troy that I met Clive Chaman and Neil Murray. If Clive could not make a gig with Doris he would send Neil in to cover for him.

Clive is probably the best bass player I have ever worked with, he had worked with many people and had not long finished working with The Jeff Beck Group. Clive and I seemed to click so when he was approached to work with Brian Auger he suggested me as drummer.

We got together in a small studio in Shepherds Bush in London. Straight away the band had a great feel about it. I was very nervous knowing that Brian had always worked with great drummers like Robbie McIntosh and Steve Ferrone and wanted to do well. As usual I just got my head down, went for it and gave it my all.

Rehearsals went well and so we went into Trident Studios to start recording the album Reinforcements. Brian’s previous albums had been quite jazzy but this had something special about it. I was playing things very straight and this allowed for space in the music and the magic just happened. Sometimes the right chemistry and balance just flows and Brian had an album so great it was number one in the New York jazz charts. I was so exited by what we were doing that I remember walking all the way home to Crouch End after a days session because I was so happy - believe me that was quite a trek! I feel that all concerned with that album made a difference to the outcome. The right people, the right place, at the right time. No other Brian Auger album is like this one, what a cracker!

Very quickly I was on my first plane flight to America for my first tour. Alex Ligertwood, our singer, was great he looked after me like an older brother and I will always love him for that.
My first gig in the states was at the Spectrum in Philadelphia. It was a massive place and we were supporting Robin Trower. I was expecting a small venue with a few people but this was mega big. We didn't rehearse before the tour, so I was expecting the tempo of the songs to be the same as in the studio but no, Brian used to shout “Get It Up There” and that was it. Baby we were flying at speeds not known to man, it was great.

We played some great concerts. We toured by car and plane depending on the money available and we supported some of the greats: Kiss, ZZ Top, Rod Stewart and the Faces, Herbie Hancock and Chic Corea. Suddenly I was on a plane sitting next to Patti LaBelle and later that day jamming before a gig with Herbie Hancock. It seemed strange to think that these were the sort of people I was practicing to at home in Crouch End just a few months earlier, I was 21 years old and it was all good.

I worked with Brian for about 18 months; we spent most of that time touring. We thought it would be easier if we lived in America so we all moved to San Francisco. I passed my driving test in Brian's car and we were happy living there, even though money was tight when we were not working

I could have carried on like this but I was missing home and felt the need to move on musically. Brian was hoping to record the next album with me but I longed for home and all things new. Who could have known that Whitesnake were waiting there in the wings, but that’s another story.

The concert featured on my website was recorded when we were supporting Fleetwood Mac. That was a great tour. I hope you enjoy the music; it gives a flavour of the band at that time in a live situation. The studio sound can also be heard on my site and the album Reinforcements is still available to buy.