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14th August 2017

Something Wicked This Way Comes


Q: You have a new line-up with yourself on drums, Martin Shellard (guitars), Dave Kandy Kilford (guitars), Rex Thunderbolt (bass) and Lucie V (vocals). How did you put the band together?


T: Steve Harris’s British Lions were playing near where I live in December last year and I went along. It was the first time I’d seen Steve since Clive Burr’s funeral (2013) and he was just about to go onstage so he said we should have a chat afterwards. He does a meet and great afterwards though and the queues go right out the door so we could only have a quick chat but behind me was this big guy with long hair and a beard. The following morning I get a Facebook request from him and he said he was too shy to come up and say hello but noticed his profile picture was him playing a bass. Now up until that time, I had been talking to John McCoy but I think he’s phasing out playing in his life now as his wife has an auction house and dedicates himself to a room there that deals with old instruments so the reality was, it wasn’t going to happen. So I invited this guy on Facebook to come and have a blow and that was Rex. Lucy came to me through a mutual friend in Wales. He had phoned a music shop and it just so happened that when he called the shop to say that he – on my behalf – was looking for a female vocalist for a Hard Rock band, she was standing in the shop. Dave is an ex-guitarist of mine who played in one of the last Thunderstick line-ups in 1987. He had done the songs live with me but never recorded them so it was kind of a gift for me to phone him up and say ‘Dave, I’m actually doing this album now’. Martin was through another mutual friend. He does tab writing for guitar which is his main job and we just sort of clicked. It’s a very different band but keeps the Thunderstick sound together.


Q: It must have been hard though to replace Jodee because you were with her for such a long time. (Jodee Valentine, Thunderstick’s last singer who died 22nd April 2016).


T: I couldn’t replace her. When we broke up, she left the country and went back to The States. She was not only my partner at the time but the focal point of the band. She’s the whole reason the album came about. I got this message from a lady in America saying that when Jodee went back, she gave up singing completely. She went back to teaching piano which was a love of hers and when we separated, we really did separate – we had no contact with each other. Then in 2010, I got an email from a guy in the States who said he had a record label and have I ever considered re-mastering the early Thunderstick albums and putting them out. One thing lead to another and we did just that with Beauty And The Beasts and Feel Like Rock ‘n’ Roll? and some other tracks for the Echoes From The Analogue Asylum. They did all right – it didn’t change my world at all – but in that period, he suggested I contact Jodee to see if she’s up for doing any interviews. I tried but I couldn’t get hold of her; he tried and did get hold of her and he came back to me and said ‘Wooagh! She’s really out there isn’t she?’ I didn’t know what he was talking about but he said she was really left-field, wacky and crazy. Now Jodee was always a bit wacky anyway being a Gemini, a vocalist for a Rock band and an American which if you put those three things together you get quite a volatile mixture (laughs). Anyway, I thought no more of it and the years rolled on. Then this lady wrote to me and told me that Jodee had died and I thought ‘Oh my God…’ Then another guy from The States contacted me and he told me he was a musician and that he did voluntary service in care homes. He had been visiting Jodee. She had early onset Alzheimer’s and her mother had put her in a care home where she blocked all contact with friends and associates so she was in this One Flew Over The Cookoo’s Nest scenario. He bought the Analogue Asylum album and played it on one of his visits. She was staring out of the window and he said the most upsetting thing was that she didn’t even recognise her own voice – there was no look of recognition at all.


Q: That’s horrific.


T: Yes it is and that’s exactly how I felt – horrific. So then it suddenly became like a mission. That’ sounds a bit Blues Brothers but it really was. The more I thought about it, we had all these tracks that we had demoed but never seen the light of day so it was time to do this. That’s a long way of answering your question but as I said I could never replace her so I took on somebody with a different kind of voice. Lucie has a husky-Blues type of voice whereas Jodee had quite a clear voice.


Q: You must have had one of the first female-fronted Metal bands…


T: Yeah that’s correct.


Q: …and now it’s all the rage.


T: Yes and it was really hard work at the time. There were all-female bands about; Rock Goddess, Girlschool, Vixen but there were no female-fronted Hard Rock bands. Now the reason I did that was not because I thought it would be great to put a female at the front of the band, it was because of the sort of stuff we had with Samson. When I first formulated the idea and Thunderstick was born, women’s emancipation in this country was on a big upwards spiral: they were getting a lot of press and making their cause known all over the place which I should add, I totally agree with but what happened was a backlash. They saw my picture on big posters and I don’t know why but they just thought it was something belittled women so they used to rip them down. You’ couldn’t be further from the truth though because I always viewed Thunderstick as a knockabout character, a larger than life thing, a real life Eddie (Iron Maiden’s mascot) if you like. So anyway, I thought put a female vocalist at the front and then if I get any grief from anybody, the answer is right there. Then when I started rehearsing it, I thought ‘Wow! This really works!’ It was also a counter to my Thunderstick image – a sort of Beauty and the Beast which looked great in photos and stuff.


Q: Going back to the album, it sounds very live. Are you into all this quantizing, autotune…


T: NO!


Q: …sampling stuff…


T: No.

Q:…that goes on these days?


T: No.


Q: So how was it recorded?


T: I heard from a guy I used to go to school with – we were in a little band together when were thirteen or fourteen years old – who ad a little studio in Wales and does backing music for a German cartoon company. He in turn contacted another person who used to be in that band said ‘Why don’t we get together in the studio one day for a laugh just to see what happens?’ So I went up to Wales and it was all good fun and whilst there I was talking about Jodee and the album and he said I could do it there so I accepted and we worked out a budget, what we could do, etc. Now because of the nature of the work that he does, when I got there, I realized how unequipped the studio was for a hard Rock band. He had a 5.1 and 7.1 speaker system but no monitoring speakers so it was quite limited. Not only that, because we were up against a budget and his time was quite precious to him, we could only do three days at a time so we ended up doing three or four journeys up there. It was the first time I had recorded digitally and did become apparent though that the sound we were getting wasn’t right so I tried to apply all the production tricks I know. In fact, my car became known as Studio 2 because the control room wasn’t set up sound-wise so we would burn a CD of the track we had just done and then I would go and play it in my car and then go back and change things in the control room. I’m also very conscious of keeping one foot in the past and giving a nod to the analogue because seven of the songs on the album were written in the eighties and having one foot I the present and I think I got that balance right.


Q: That’s exactly what I heard in the album.


T: Thanks. A lot of people have said that and it’s been quite humbling because so far I haven’t had a bad review. It’s been thirty-three years since any new Thunderstick material so to suddenly put that out and have so many people turn around and say it’s a good album with really strong material and good performances is all I can ask.


Q: Does the title come from the Ray Bradbury story?


T: Yes. Originally it was just a tag line that I had. When we were recording I put together a video similar to Bob Dylan’s Subterranean Homesick Blues with the boards pertaining to the Pledge Music thing I was setting up. It was only a tagline for that video really and it stuck! You’re spot on there.


Samson and the NWOBHM


Q: Whilst we are on videos, are we ever likely to see the video from Great Western Hotel in London?


T: Oh wow…you have done your homework. The simple answer to that is I haven’t got a clue. We had a management at the time who paid for the video, it was all shot and t looked good. We looked at the rushes and I thought it was going to be an amazing video but the management dragged their heels over it and us in general really so we went our separate ways. As to where the footage of that video ended up, I wouldn’t be able to tell you.(laughs) I wouldn’t even know where to start looking for it. It could have been wiped or something..I don’t know but it’s such a shame but it did look really good. It wasn’t one of those horrible eighties storyboard things; it was a little bit more out there than that.


Q: I do have the Biceps Of Steel video.


T: (laughs) That was amazing as well! It was crazy. Samson as a band were originally going to sign to EMI who had already signed Iron Maiden and our management said there was a couple of albums deal with an advance, etc and they took the single Hard Times from Hammerhead and started manufacturing them. They pressed about 2,000 of the singles with a different cover and our management all the way through this insisted it was going to be a proper deal but it transpired that that wasn’t the case at all. It was to put out a single, see how it does and if that does ok, look at the option of picking Samson up for an album which is not what the management told us so we individually threw our dummies out of the pram as it were and then from out of nowhere came this small subsidiary company of RCA called GEM. It went on the front page of Billboard that at the zero hour we had been snatched out of the arms of EMI by GEM. GEM were also a part of GTO Films and that was part of the deal to make a video. This was not going to be a PV, it was going to be a proper film shot on 16mm or whatever with four or five cameras and what-have-you. I played the roadie and then when both the roadie and Thunderstick are in shot, we got one of my mates to dress up as Thunderstick and then for the close-ups I’d put the Thunderstick gear on and they’d film me doing the rolls around the kit. It went out with Breaking Glass – do you remember that?


Q: Yeah I loved it. Hazel O’Connor and Phil Daniels.


T: That was it. Well they put it out as a B-film to that in general release at the cinemas. It’s become a kind of a curiosity or oddity hasn’t it?


Q: It has and I have a copy in my archives right here. You were in Samson for their first three albums which I think was probably the only time Paul had the same line-up for three successive albums.


T: Yeah I think you’re right. Mind you, Survivors (first album) wasn’t because we did that as a three-piece; Me, Paul and John McCoy. Then when Bruce (Dickenson) joined, we went back and put Bruce’s voice on it. Very strange because when I first auditioned for Samson, Chris Aylmer was there on bass and then when they had me back to do the second audition, John McCoy was standing there and I thought ‘What the hell is going on here?’ It was like revolving basses but you’re right, Head On was the first album we did as a four piece and then Shock Tactics and that was it. Paul was a restless soul. I don’t know what he was searching for both in his private and professional life. It was almost be that as soon as he got something that working and functioning well and had the ability to get better and produce more from it, he would self-explode and go on a different route.


Q: Oh I couldn’t agree more! I always remember having a chat with him once about some line-up or another he had and saying t was a god band and it was really working for him and he said ‘Really?’ I said Yes’ and he said ‘Oh…maybe it’s time to change then.’


T: Yeah that’s the way he was. When we got back together and did the reformation, we wrote some really cracking songs and it was intimated that Bruce was going to rejoin because he was solo at that point. We had sent him the songs, were talking him, sending correspondence and he replied yes and that he could put some good stuff down to the tracks but one thing led to another and shortly after all that he rejoined Maiden so it never happened. The material was good though but when Bruce rejoined Maiden Paul just chucked it all up in the air, moved out to Norwich and put together a little Blues combo or something and started playing the pubs and clubs.


Q: It’s hard to believe it’s been fifteen years since he died.


T: Yeah it is. I’m really good friends with Rob Grain who I’ve known since ’79. With Thunderstick he was my Tech and he’s now with Bernie Tomé. We live ear each other and he’s got al the diaries, tapes and cassettes and all that kind of thing from when Paul died. Paul left them all to Rob so he’s in charge of Paul’s estate as it were. It’s all so sad – look at Chris. We didn’t know when we did Wacken Festival with Nicky Moore on vocals that that was going to be the last ever Samson show. Nicky’s not very well now either; he’s got Parkinson’s Disease. Mind you, having said that, he’s just done an album with a band called Hackensack if you remember them.


Q: Yeah of course.


T: Well he’s just done a new album with them (The Final Shunt) albeit from a chair. He’s still got a great voice on him.


Q: Anybody who made their name for themselves in that era has quite a legacy. What does it mean to you?


T: Cor that’s a good question. I usually get asked ‘At the time, did you know it was special?’ and the stock answer I give to that is that Punk had worn itself out but throughout those Punk years, record companies would only sign Punk bands and agents would only put Punk bands out and the whole thing was Punk Punk Punk but the music business need it – it needed that shake up. Underlying all that though were loads and loads of musicians who had learned to play their instruments. That’s no disrespect to a lot of the bands who have lasted the course like The Damned who I love  - they are really good – but there was an awful lot of dross out there as well. Anyway, all these musicians were still listening to Prog Rock and Sabbath and such and the moment Punk started to slip away, there was immediately something there to replace it. We took the energy from Punk but we had the ability and the knowhow to play. We were not aware that it was a movement that was going to be spoken of in decades to come it was just special because suddenly all these bands were getting gigs as were all your friends and counterparts. You’d meet other on the road and it was all good fun.


Q: It was an amazing time. I’d be at the Marquee three times a week, the St Moritz…


T: The Ship! The kebab shop that was right next door to The Ship did these amazing kebabs. Every time we played The Marquee we’d go into this kebab shop and have these huge great Doner kebabs. (laughs)


Iron Maiden


Q: You are a part of the Iron Maiden family. Is that a…I don’t know how to describe it…


T: Encumbrance.  


Q: Right.


T: It’s non-descript really. What I do get fed up with is people trying to ride on the back of that. Because you are ex-Iron Maiden or ex-Samson or whoever, there are certain people that I have played with in the past that go out of their way to point out that now they are on their own, they are now a member of the Iron Maiden family tree by association to me which I think is absolutely pathetic. That’s desperate really but for me, yeah, I had a bit of fun last year. I have a reel to reel tape of us rehearsing in 1977 when we’re doing all the early stuff. Charlotte The Harlot, Prowler, Sanctuary and all the stuff that went on the first two albums. From the Iron Maiden camp, it had always been firmly believed that the earliest recordings that existed of Maiden were the Soundhouse Tapes but I blew that out of the wter by just putting these little thirty second excerpts on soundcloud and the feedback I got was incredible. People were saying I had the Holy Grail as far as Maiden were concerned and how much did I want to sell it for. Now, I could sell it but I cannot promote it because although I own the tape and my performance, I don’t own other people’s performances on it or the song writing.


Q: You sound like a wise man when it comes to copyright.


T: Well I’ve only learned by default. (laughs) I’ve been a long time in the music industry and you come across all that crap but with the tape, people from all over the world were contacting me saying ‘Can we hear more?’ but no. Iron Maiden is just a part of my life. Look at that story on Wikipedia that I supposedly fell asleep while I’m playing a gig. How ridiculous but I perpetuate the myth because it’s good fun.




Q: What kit are you playing these days?


T: I’ve still got my Jurassic Pearl kit. Somebody posted a comment the other day about the new album that they missed the very tight snare sound but that was my Grestch kit. I was stupid enough to sell that because at the time I got the Pearl kit, Samson was doing very well and the Thunderstick image was taking off in quite a big way. Pearl were trying to make inroads into the UK so they sponsored me so I still have that kit to this day.


Q: I want to ask you about a mutual love we have – the old Hammer horror films.


T: Oh yes!


Q: One of my favourites and I know it’s one of yours as well is Dr Phibes…


T: Hah hah! Yes. Vincent Price, wonderful.


Q: Have you seen the re-mastered Vincent Price Blu-Ray box sets?


T: No I haven’t!


Q: Well you have to buy them.


T: Let me tell you a story here. When I was a kid, I was lucky enough to go straight from school to a recording studio and I was training to be a sound engineer but after a while, I was so frustrated at being on the wrong side of the glass I wanted to be a professional musician playing the stuff rather than recording it. So then I jacked it in because I didn’t want to do it anymore. It was ridiculous hours and not as glamorous as people make out so I ended up work for a PR company called Theo Cowan Ltd. They had al kinds of people on their books including Christopher Lee and one young lady they had was called Ingrid Pitt. Now I absolutely adored Ingrid Pitt, both in Countess Dracula and The Vampire Lovers and I used to hang about a bit with the secretary of the company called Yvonne and she knew I had this love for Ingrid. I was up in the office one day and the intercom went and it’s Yvonne and she said ‘Guess who’s in reception?’ I said I didn’t know and she said ‘Ingrid Pitt’. ‘You’re kidding!’ I nearly fell apart and it just so happened that I had done a couple of lead pencil drawings of her which I had in the office so I went down there as this young kid and ‘Hello Miss Pitt’, handed her the picture and she actually commissioned me to do another one of her which I did. It’s of her having a tea break during The Vampire Lovers when she still has her vampire teeth in and she’s holding a tea cup. When she came back to pick up the drawing we went around to Shepherd’s Market and had lunch. That’s my claim to fame with Ingrid Pitt – I just loved that woman and she was so interesting to listen to about how she had escaped from her homeland and everything.


Q: You had lunch with Ingrid Pitt? I never want to talk to you again.


T: (laughs) I’m afraid so – yes. I was once given an envelope to take round to Christopher Lee’s house as well. It was in Cadogan Square and I rang the intercom on the door and he answered it. Then as you go through the door, there’s this huge great flight of stairs and there standing at the top of it was Christopher Lee…


Q: (laughs)


T: …and I thought if he flies down to take this I’m getting the hell out!


Q & T: (laughter for a long time)


T: All those films are just wonderful though. The sets and everything like that. I’ve always wanted, if I have the kind of budget that enabled me to do a big show, I would do something with that kind of feel about it. It’s twee and I’d love to do something like that. Victorian with gaslights and alleyways with mist down the bottom. If I had the kind of money that Maiden had, I’d love to do that. I love theatrics so I love Alice Cooper

And The Tubes and all that. When The Tubes did six or seven nights at Hammersmith Odeon, they had their American crew and they borrowed Samson’s crew as well so we all got passes and I went to four nights. They were just amazing. I don’t know how many people they had on the stage at the end – probably twenty – doing White Punks On Dope and their musicianship was incredible. Young And Rich is one of my favourite albums. I love that.


Q: Do you recall the first gig you saw?


T: Ermmm…no. I really don’t. The haunt I used to go to every Sunday night was called The Black Prince which was off of the A2 in Bexley in Kent. I saw Eric Clapton there as Derek & The Dominoes and you got a free badge when you went in saying ‘Derek is Eric’. I still have hat badge somewhere. Van Der Graff Generator I saw there, Genesis as well.


Q: I’d better wrap this up as we’ve been nattering for an hour. Thanks very much for your time.


T: It’s been good talking to you, take care Glenn


サンダーロック インタビュー2017



『Something Wicked This Way Comes』


Q:バンドメンバーが一新されましたね。あなたがドラム、マーティン・シェラード(ギター)、デイヴ・キャンディ・キルフォード(ギター)、ルーシー・V (ボーカル)という布陣です。このメンバーはどのように集めたのですか?




T:彼女の代わりなんていないよ。僕と別れて、彼女はアメリカに帰って行った。彼女は僕のパートナーというだけでなく、バンドの核でもあったんだ。彼女がいたからアルバムが作れたんだ。アメリカのある女性ファンからメッセージをもらったよ。ジョディはアメリカに帰ってから、二度と歌わないと決心したそうだ。それで元のピアノの先生に戻ったらしい。僕らはそれ以来、まったく連絡を取り合わなかった。2010年にアメリカのある男からeメールが来たんだ。彼はレコード会社を経営してて、初期のサンダースティックのアルバムをリマスターしてリリースする気はないか、と訊いてきた。そこでまず『Beauty And The Beasts』と『Feel Like Rock ‘n’ Roll』でやってみたんだ。『Echoes From The Analogue Asylum』の中の何曲かもやったよ。リマスターされても僕の世界は何ら変わることはなかった。そのタイミングで彼がジョディと再会して、インタビューが取れないか、と言ってきたんだ。そこで彼女に連絡を取ろうとしたんだけど、連絡が取れなかった。彼もやってみてくれたんだけど、だめだった。「オイオイ!本当に彼女は引退してしまったのか?」彼は嘆いたよ。元々ジョディは風変わりな一面はあったからね。双子座の生まれでもあり、ロックバンドで歌い、アメリカ人でもある。この3つを同時にこなしていたんだから、風変わりにもなるよね(笑)。とにかく、そんな状況のまま時間だけが過ぎてしまった。そのうちにメッセージをくれた女性からジョディが亡くなったことを知らされたんだ。「なんてこった・・・」だったよ。別のアメリカ人が僕のところにやって来て、ミュージシャンなんだけど、今はケアハウスでボランティアの仕事をしていると言うんだ。その彼がジョディのところを訪れたことがあったと言うんだ。彼女は初期のアルツハイマーにかかっていて、彼女の母親が外界の誰とも接触できないケアハウスに入所させたそうだ。まるで「カッコーの巣の上で」のような所さ。彼は『Analogue Asylum』を持っていて、彼がジョディの所を訪問した時に聴かせたらしい。でも彼女はぼーっと窓の外を見詰めているだけで、それが自分の声だと分からなかったそうだ。まったく音楽に関心を示さなかったらしい。



























T:うん。元々、このタイトルは単に「オチ」にするつもりだったんだ。レコーディング中に、ボブ・ディランの『Subterranean Homesick Blues』のように、ボードを掲げるビデオを「プレッジ・ミュージック」用に作ったんだ。このビデオの「オチ」にしようと思ったんだ。見事決まったね!







Q:私は「Biceps Of Steel」のビデオを持っていますよ。

T:(笑)そりゃあ凄い!サムソンは、アイアン・メイデンと契約していたEMIと契約したんだ。僕らのマネージメントは、数枚のアルバム制作分を前払いでもらったと言っていたよ。『Hammerhead』からのシングル「Hard Times」から扱ってくれた。異なるジャケットで2,000枚をプレスした。マネージメントはそういうことが通常のやり方だと言ったけど、実はそんな前例はなかったことが後で発覚した。シングルの成績が良ければ、次にはアルバムに繋がっていくとマネージメントに言われたけど、それも嘘だった。RCAの子会社の小さなレコード会社では何にもできなかったんだ。GEMっていう会社だったけどね。GEMの策略で、EMIから瞬時に僕らの権利が譲渡されたんだ。GEMはGTO映画社の系列でもあって、ビデオ製作もしていた。この会社はPVの製作はしてなくて、4、5台のカメラで16ミリとかの映画を製作していたんだ。僕はローディー役を演じて、サンダースティックとしても出演した。バンドメンバーの一人にいかにもサンダースティックという格好をさせてね。アップショットでは僕もサンダースティックの衣装を身に纏ったよ。僕が役を演じた映画を何本か撮ったよ。『Breaking Glass』がまあまあ当たったけど、これ、知ってる?






T:ああ、そうだよ。でも『Survivors』(ファースト・アルバム)は違ったんだ。このアルバムは3ピースでやったからね。僕とポールとジョン・マッコイだ。ブルース(・ディッキンソン)が加入した時、僕らは戻って、彼のボーカルを入れ直した。おかしな感じだったよ。最初にサムソンのオーディションを受けた時、クリス・アイルマーがベースだった。二度目のオーディションを受けさせられた時には、ジョン・マッコイがそこにいた。「何をやるつもりなんだ?」って思ったよ。ベーシストを故意にころころ変えているのかと思った。君が言うとおり、『Head On』が4ピースでやった最初のアルバムだよ。その次の『Shock Tactics』もね。ポールは働きづめのタフな奴でね、どうして私生活も両立しているのか判らないくらいだった。彼に何かアイデアが浮かんだら、なるべく早くそれを形にしないと気が済まないんだろうね。アイデアをベストなものにしていく才能が彼にはあったんだ。彼は独自のやり方で自分を高めていたんだ。























T:ほんとに説明できるようなものじゃないんだよ。僕が辟易しているのは、それに何とか加わろうって奴がいるってことなんだ。元アイアン・メイデン、元サムソンのメンバーならもちろんのことだけど、僕が過去に共演した人で現在も際立った活動をしている人たちなんかは僕の口利きもあってファミリーに入っているんだけど、それを求める姿は哀れにも思えるね。本当に必死なんだよ。でも去年、面白いことがあったんだよ。1977年のリハーサル・テープを持っているんだけど、それは初期の曲ばかりの入ったものでね。「Charlotte」、「The Harlot」、「Prowler」、「Sanctuary」といったナンバーは最初の2枚のアルバムに収録されたものだった。アイアン・メイデン信奉者によると、メイデンの初期の秘蔵音源はサウンドハウス・テープとして存在していると言われている。それらのたった30秒の抜粋バージョンが流出してサウンドクラウドにアップされたんだけど、その反響たるや凄まじかったんだ。ファン曰く、僕がメイデンの「Holy Grail」のテープを持っているはずだ、それをいくらで売りに出すか、みたいなことで盛り上がっているらしい。僕がそれを売ったとしようか。でも僕はそれを宣伝することはできないんだ。いくら僕がテープを持っていても、その中に収められている自分以外のメンバーのパフォーマンスの権利や楽曲の著作権は僕にはないんだからね。


Q: 著作権については、あなたは慎重に判断されるでしょうね。


















T:聞いてくれるかい?子供の頃、学校が終わると、スタジオに一直線、という恵まれた環境にいたんだ。エンジニアの勉強をしていたんだ。その後、裏方よりもミュージシャンになりたかったんだと気づいて、間違った選択にイライラしていた。それでもう何もしなくなった。何にも魅力を感じない無為な日々が過ぎていった。テオ・コーワンというPR会社の仕事も辞めた。この会社はクリストファー・リーやイングリッド・ピットという女優も抱えていた。僕は彼女を崇拝していてね、彼女は『Countess Dracula』と『The Vampire Lovers』に出演していた。僕は会社の秘書をしていたイヴォンヌという女性とよく一緒にいたから、彼女は僕のピットへの思いを知っていたと思う。ある日、オフィスに行くと、インターフォンからイヴォンヌの声がした。「受付に誰が来ているか、分かる?」。僕が答えられないでいると、「イングリッド・ピットよ。」って。「マジか!」って叫んで、卒倒しそうになったけど、僕がイングリッドを描いたペンシル画を何枚か抱えて、降りて行ったよ。「こんにちは、ピットさん。」と言って、1枚の画を彼女に渡したんだ。すると彼女は後で別の画も見せてと言ったんだ。それは『The Vampire Lovers』撮影時の休憩中にお茶を飲んでいる姿を描いたものだった。吸血鬼の歯を付けたまま、ティーカップを持った姿だった。彼女が画を見に戻って来ると、僕と一緒にシャファーズ・マーケットにランチを食べに連れて行ってくれたんだよ。これがイングリッド・ピットにまつわる僕の自慢話だよ。彼女のことが大好きだったんだ。どうして自国(ポーランド)を抜け出して来たのかとか、いろいろな話を聞かせてくれたよ。








Q & T :(しばらく大笑い)


T:ハマーの映画はどれも素晴らしかったね。セットもすべてね。予算がふんだんにかけられるなら、あの世界をステージで再現してみたかったね。ちょっと品のあるあの感じが大好きだったんだ。『Victorian』では、ガス灯と裏通りが霧に霞む。メイデンが潤沢な資金を持っていたら、あれを再現したかったね。演劇ぽいのが大好きなんだ。だからアリス・クーパーも好きだよ。チューブスもね。チューブスがハマースミス・オデオンで6夜か7夜連続で公演した時、彼らはアメリカからクルーを連れて来た上に、サムソンのクルーも雇ったんだ。だから僕らもパスをもらった。僕は4晩観に行ったよ。凄いステージだった。最後には一体何人の人がステージにいたのか分からないくらいだった。たぶん20人はいただろうね。「White Punks On Dope」を演じた時の彼らのミュージシャンシップたるや素晴らしいものだったよ。『Young And Rich』は僕の大好きなアルバムなんだ。



T:んー・・・・憶えてないなー。毎週日曜の夜に行っていた、ケント州のベクスリーのA2沿いのザ・ホーントというクラブは「ザ・ブラック・プリンス」と呼ばれていた。デレク&ザ・ドミノス時代のエリック・クラプトンもそこで観たよ(70年8月16日)。会場に入る時に「Derek is Eric」というバッジをタダでくれたんだ。まだそれを付けた帽子を持っていたと思うな。ヴァン・ダー・グラフ・ジェネレーターもジェネシスもそこで観たよ。




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