RAPIERS ARE GO!

Vox Popular

The stuff of amplified legend, The Shadows recorded the epochal Apache using Vox AC30 amps. No wonder The Rapiers follow suit when recreating "That Sound" live on stage, most noticeably during their "Me and My Shadows" stage show.

For our lads' recent Millfied Arts Centre stop, Shads guitar expert Geoff Strachan loaned Dave Lawes, depping on rhythm for Neil Ainsby, an original 1959 Vox AC30/4 amp to complement Colin Pryce-Jones's rig.

"Geoff is always so helpful, he also brought two chrome stands for our amps," said Colin, an audio and visual perfectionist. "I've never seen Dave so enthusiastic about sound from a Vox!"

Wanna Own One of Colin's 12-strings?

Geoff, who helms a Shadows guitar club in East Hertfordshire, is also helping sell Colin's 1965 Fender Electric XII guitar (see below)—in excellent shape of course.

"Electric XIIs in this condition do not come onto the market very often," Geoff advises, "so if you are looking for a genuine vintage Fender Electric XII, you can't afford to miss this one."

Interested? Visit Geoff's site then scroll past another guitar beauty (Colin's Burns Double Six 12-string, currently a highlighted "interest item" only) down to equipment for sale. Or email Geoff.

Rare Rapiers Items on eBay

Who but a hopeless Rapiers anorak would spend cash on a picture sleeve with no record inside? Let's find out.

A printed but rejected cover for the Rapiers Vol. 4 EP [1986, Twang RA004] is on offer on eBay. Says seller nathanshads:

"The reverse side has the same photo as the official release, but with the names under the wrong people. Please note, this is for the cover only, there is no record with this sale. This item is very rare, as it was never released. It is in mint condition."

Meanwhile, another Rapiers rarity, their Merry Christmas From EP [1995, Twang RA005]—complete with vinyl!—is available for eBay bidding, too. Unplayed, the record includes the yuletide chestnuts Sleigh Ride/Noel, Christmas Song, Winter Wonderland and My Christmas Prayer.

A highly desirable 7" stocking stuffer for good little rock 'n' roll boys 'n' girls.

Stage, Studio and Screen Stars See Rapiers

Grosvenor Guests. From left: Wee Willie Harris, Kay Garner, Vicki Michelle, Colin Pryce-Jones, Billie Davis, Sue Glover, Neil Ainsby, Nathan J. Hulse.

"Lots of people told me they hadn't seen a group like ours in 40 years!" said Colin Pryce-Jones, delighted with the vibe at Sunday's Heritage Foundation Benefit in memory of the late Tommy Bruce.

More highlights, emailed and phoned in by various eyewitnesses:

• Yes keyboardist Rick Wakeman's Prokofievian version of Eleanor Rigby. "Outstanding playing, technique, phrasing and notation," said an awed Colin, certainly no closet prog rock fan. "Hands and feet from another planet—he played it semi-classical, altered chords, brilliant. He got a standing ovation. 'My goodness,' I thought. 'How do we follow that?' As it turned out, "Rick spoke highly of us and said he 'thoroughy enjoyed' our set."
  
  
• 'Allo 'Allo! TV sitcom star Vicki Michelle posing for photos.
  
  
• Legendary studio voices Kay Garner and Sue Glover, veterans of Dusty Springfield, Dionne Warwick, Frank Zappa, Joe Cocker and Burt Bacharach sessions no less, joining Billie Davis on I Want You to Be My Baby.
  
  
• Les Reed shouting, "Play it then!" after Colin namechecked the pianist, crediting him for 1964's uber suave Spanish Armada recording—"which The Rapiers did too". Play it? "We'd need about 15 musicians up here to do it right," Colin replied.
  
  
• A roster of musical celebs lending their good karma to the afternoon, including Craig Douglas, Brian Poole, Graham Fenton, Clem Cattini, Mike Sarne, Danny Rivers, Chas McDevitt, Jess Conrad, Wee Willie Harris, Russ Sainty and Vernons Girl Sheila Bruce, Tommy B.'s widow.

London Police Nab Fleeing Rapiers

Well, sort of...

"I saw the blue lights, the police car pull alongside, an officer gesture to roll down our window then ask us to pull over," said Colin Pryce-Jones, describing their "first official pull" in their new van, just after leaving Sunday's benefit show at London's Grosvenor House Hotel.

A broken tail light? Speed camera dodging? Congestion charge avoidance?

"No, we weren't doing anything wrong, it was just a routine check. The officer, who was very polite, wanted to know what we had in our van, that's all. When he got a clean look at us, he knew we weren't part of the striped-sweater-and-mask brigade making off with the swag.

"Too bad Dave Lawes [a full-time police inspector when he isn't playing rhythm on The Savage] wasn't with us!"

For the record, cautious Colin says the lads haven't been pulled over in "years and years".

Dawn Patrol

Visiting Warriewood, one of Sydney's famed northern beaches, ties for No. 113 in the Top 120 Things to Do down that way.

Nathan J. Hulse agreed, venturing there one morning on holiday to capture a bucolic sunrise.

Rapiers Carry On Up London's Park Lane

Proceedings running overlong, Jet Harris had to bow out from his scheduled appearance at Sunday's Heritage Foundation Benefit in memory of the late Tommy Bruce for another gala event, his guest spot at Marty Wilde's London Palladium show.

Joining a defacto reunion of 2 i's coffee bar regulars from the the dawn of British rock 'n' roll, Jet reconvened with Shadows mates Bruce Welch, Hank Marvin and Brian Bennett, Brian Licorice Locking (the man who replaced him on bass in that combo) and famed session guitarist Big Jim Sullivan—a cavalcade of stars honouring Mr. Wilde's 50th anniversary (!) in showbiz.

No problem for The Rapiers, who kindly carried on their ownsome at London's Grosvenor House Hotel with a "well received" four-song set of Shadoogie, Buckleshoe Stomp, Apache and FBI. They also backed Billie Davis on her I Want You to Be My Baby and Jackie Wilson's Higher and Higher.

"That was supposed to be the end of the show for us," says Nathan J. Hulse. "But Wee Willie Harris wanted to do a few numbers with us: That's Alright Mama, Riot in Cell Block No. 9 and Rip It Up."

Something I've Got to Tell You

Heinz. Mike Berry. Screaming Lord Sutch. John Leyton.

Over their 24-year career, The Rapiers have feathered their live performance bookings by backing singers who tasted first pop fame under the aegis of Robert George "Joe" Meek, the maverick '50s-'60s engineer-producer responsible for diamonds like "Bad Penny Blues", "Johnny Remember Me", "Telstar", "Just Like Eddie", "Sky Men" and "Have I the Right".

Eccentric, paranoid, genius: all these adjectives describe Meek, an independent, tortured soul who shunned Britain's structured recording industry to make hit parade records out of his flat at 304 Holloway Road, until the day he shot himself in February 1967.

What drove Meek? How did he inspire a legion of DIY recording boffins? Answers are forthcoming in Los Angeles-based Palm Door Film's "Something I've Got to Tell You: A Life in the Death of Joe Meek", now in final editing.

The producers, Susan Stahman and Howard S. Berger, tipped us to a new teaser for their feature-length documentary. And it's a whopper!

"I hear a new world..."

Post o' the Week: Revved Up

Dear Rapiers:

Greatings from the Transtagania plains, south of Portugal. I'm looking forward to having my breakfast at the Ace and The Rapiers playin' on the jukebox.

Screaming Billy

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From his MySpace domain, we learn SB's "an ordinary country boy", lead singer of Lotus Mecanica, vintage motorcycle lover and a lad of simple needs: "hanging around with my gal, money for gas, booze 'n' cigarettes".

Farnham Maltings Off

Bad show: Next month's "Me and My Shadows" gig at Farnham Maltings in Farnham is a non-starter, cancelled and being rescheduled, in part "because the theatre's Website has been registering a blank page for the show, causing confusion among fans", says our source.

Contact the box office on 01252 726234 for a refund.

OT Video Triple Play: The Rain, The Hollies, The Searchers & The Seekers

Edmonton Tornado

Colin Pryce-Jones introduced a surprise guest at the Millfield Arts Centre Thursday night—keyboardist Brian Miller of The Tornados. Brian, one of most accomplished musicians on the '60s circuit, depped when regular "Me and My Shadows" keyboard player Paul Mathews couldn't make the north London show.

Brian settled in purrrrfectly. Well, he was the keyboard player in the long-running West End musical "Cats" for no less than 21 years before being asked by Clem Cattini to join his modern Tornados.

"Great show, great audience, superb lighting and, wait for it, great sound," said Ralph Gowling. "Thank [Rapiers confidante and Rocking Horse drummer] Mac Poole, who put in the PA system and had his expert hands (and ears) on the controls."

Sounds like there was also plenty of banter between audience and stage at the cosy Edmonton theatre.

"Billie Davis confessed to having put her contact lenses in the wrong way round," Ralph laughed. "Colin went one better by getting into a rare muddle with his words, making mention of people enjoying a show by 'relieving themselves'! It wasn't quite what he meant."

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Sound Friends: Colin, Billie and Mac at the Ace, November 2006

Never Say Never

Ahoy, Rapierspotters! Can you spot the funny discography cock-up in this mostly correct Rapiers bio from Answers.com? Hint: It's got Gerry Marsden and Liverpool F.C. written all over it.

Formed in the early eighties in the north of London, The Rapiers gained much influence and credibility for a sound that resemble a classic Merseybeat rock and roll sound like Cliff Richard and his backing group The Shadows. Led by singer Colin Pryce-Jones, the group performed in numerous venues in London and England before recording its 1983 debut EP effort, Vol. I, on Red Door Records. Three more EPs followed from 1984 to 1986, with its first vinyl full-length being Straight To The Point in 1985 on Ace Records. Known for being a great live act, magazines such as The Face and New Musical Express reported on the group. In 1987, The Rapiers released its second album 1961 on Ace Records. Throughout this time though, the group became a supporting group for several British musicians, including Cliff Richard, Billy J. Kramer and Freddie Garrity. In 1991, the quartet released The Return Of The Rapiers on Fury Records. In 1994, Back To The Point was released to much praise. Guitarist Neil Ansby and bass player Brad Dallaston left The Rapiers, replaced by guitarist Wayne Nicholls and bass player Nathan John Hulse. The band released You'll Never Walk Alone With in 2000 and more touring ensured, including supporting Mike Berry. A greatest hits compilation was released in 2002. Spotlight On The Rapiers was released on Fury Records. The group plans to star as The Shadows in a touring British production titled "Cliff The Musical". In 2003, they released Return of ... and Back to the Point, followed by 1961 in December of 2005. ~ Jason MacNeil, All Music Guide

Sydney in the Gloaming

Sydney Harbour Bridge, known to locals as the "Coathanger", positively twinkles at twilight in this photo taken by Rapiers bassist Nathan J. Hulse on his recent Down Under holiday.

Hopping at Farnham Maltings

Fancy a Surrey night out at a restored 19th Century brewery featuring the best in mid-20th Century rock 'n' roll?

The Rapiers and Jet Harris bring their patented "Me and My Shadows" gusto to Farnham Maltings, Bridge Square, Farnham, on Friday, 8 June.

How to book: Contact the box office on 01252 726234.

Not just a folksy concert venue, the Maltings "provides a place in which people can imagine, create and discover... If you are a creative business, be that artist, dancer, writer, musician, actor, craft maker or company, the Maltings is interested in you," explains the venue's website. "We aspire to provide the tools, encouragment and opportunities for all types and age of artists to develop their own work both here and across the region."

How to get there: Farmham Maltings is conveniently situated at the heart of Farnham, just off the A31 from London and Winchester and within easy reach of Guildford. The Maltings is also less than 10 minutes walk from Farnham's main line station.

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UPDATE 25 MAY: Show cancelled. Ring the box office for a refund.

2 Songbirds

Currently touring with The Rapiers and Jet Harris's "Me and My Shadows" show, singer Billie Davis, best known for '60 BritGirl smashes "Tell Him", "I Want You to Be My Baby" and "Angel of the Morning", has a new set of Songbirds supporting on backing vocals.

Welcome Julie Gillingham and Imogen Miller Porter. Really tweet: dig their faux bow-tie ensemble!

Photos courtesy Billie Davis. Far right: "MAMS" Keyboardist Paul Mathews next to Nathan J. Hulse.

More From the Archives: Rockin' Race Fiesta Photo

Fashionista photographer Antonio Alay, who captured a series of atmospheric backstage images with The Rapiers at Madrid's Mad Rockers Club last December, came back for seconds in February at the Rockin' Race Jamboree in Torremolinos on Spain's Costa del Sol. Dave Lawes briefed us about the evening but said nada about this muy bueno fotografia.

Top: Los Rapiers y las mujeres de Rockin' Race. Photo by A. Alay. Left: AA in studio.

Crossed Swords in Photostream

Clang! Nope, not the image I expected based on the titling. But fine action nonetheless pitting Sirs Joel and Iggy in combat from photographer ArcheiaMuriel's flickr photostream.

Where to Seat Your Bum at Millfield

Why not show The Rapiers support on their own turf? Tix are still available for Thursday's "Me and My Shadows" performance starring Jet Harris, Billie Davis and The Songbirds at Edmonton's Millfield Arts Centre. Ring the box office on 020 8807 6680.

No word if the Millfield has an adopt-a-seat scheme, a la Bromsrove's artrix.

View From the Wings

Here's another beauty from the lens of Nathan J. Hulse, composing Dave Lawes, Jet Harris and Colin Pryce-Jones in a blackredblueblack pyramid stack. "The secret to great '60s group photos is the triangle," Colin once said. "The photographer who did our 'Straight to the Point' cover told me that."

Left: Based on Jet's Fender bass, the tune on tap might be The Shadows' "Nivram". Above: "Straight to the Point" formation.

"Yeah-Yeah" Rapiers on iTunes

Milt, a potential Rapiers fan from Washington state, is glum about their digital download catalogue.

"I like The Rapiers from what I've heard so far and need to get some of their tunes on my iPod. The iTunes Store has only one Rapiers song. Is there a place to listen and buy songs, or do I have to buy their CDs one by one and pick and chose what I like? The former option sounds time consuming and costly. Any help?"

Good question, Milt. At least that lone track on the US store shelf is a rare 'un: "That Old Yeah-Yeah Feeling", found only on an American tribute collection called "The Sympathetic Sounds of Toe-Rag Studios London" [2002, SFTRI 695, Sympathy for the Record Industry].

So, whadaya get for $0.99? For a start, sprightly lead guitar. Colin Pryce-Jones lead vocal. Handclaps. John Tuck machine-gun drumming. Plus guitar from the late Wayne Nicholls—by my reckoning "Yeah-Yeah" being one of only two released Rapiers recordings to feature his talents and thus a cherished thing. Colin sourced "Yeah-Yeah" to an early '60s Scopitone video by Shane "I'm a Moody Guy" Fenton and The Fentones, who never released the track on vinyl during their heyday.

"Sympathetic Sounds" finds The Rapiers keeping good company with like-minded brethren The Bristols (featuring singer Fabienne Delsol and legendary Toe-Rag sound boffin Liam Watson, two serious Rapiers allies), Masonics, Kaisers, Billy Childish, Holly Golightly and other modern primitives from Blighty. We spotlighted a review back in 2003.

NB: iTunes links above call up US store, not sure what happens from UK-based Web browsers. Meanwhile, they're not downloadable but four hot Rapiers tracks are currently cued up on our MySpace page: "Buckleshoe Stomp", "That's Alright", "Breakfast at the Ace" and "I Pretend I'm With You".

From the Archives: ¿Que Dices, Señor Colin?

"Does HP Sauce go well with tapas?"

Any guesses what pearl our Col whispered to local rockchica Monica Garcia backstage at Madrid's Mad Rockers Club last December? Looks like Neil knows.

Photo by Antonio Alay

Nathan J. Hulse Responds to Sound Criticism Too

The Stables did inform us they had their sound system as loud as they could before the microphones started to feedback (whistle, howl and other horrible noises). My advice is wait until they sort out their new sound gear and speaker placement before playing there.

While on the subject of soundmen, in the past we worked with one guy who always complained my bass guitar was "too loud", even if I struggled to hear it when I was standing in front of the speaker. During one soundcheck, I decided to turn off. Later I asked him if I was loud enough. His response: "Yeah, that's just right for this venue."

I sat out the rest of that soundcheck.

NB: Photo by Edorf Dlojks

What It Sounded Like at the Front

Long-time Rapiers fan and guitar maven Brian E. Clark adds his two penneth to the post-Stables "Me and My Shadows" commentary, dissecting the evening with a musician's ear. Go, Brian!

Just a short, hopefully objective, review of the Stables gig. The Rapiers were, as usual, in excellent form with a great musical performance. I am always pleased to see how Colin accurately hits the spots on the fretboard, playing second and third positions without ever looking at the guitar, something few can master. He is a truly superb guitarist. Nice to see Dave in the line-up with John and Nathan on top form as ever.

Sound problems. I was seated centre front row. The crisp prime sound of the Fender amps could clearly be heard cutting through (Dave could have benefited by a 5% volume reduction on some numbers). However, the miked-up amplified sounds going through the centre's P.A. system were devoid of some high frequencies and lost the natural harmonics of the electric guitar sound. Jet's sound was slightly low and again the PA was muddying the crispness of his bass. Nathan's bass sound, however, was spot on.

Others have mentioned the PA effect on the vocals of Billie Davis and The Songbirds. Their sound appeared to be excessively bassy and muffled (like a low-fi car boom box!) and projected out of phase from behind the group via the stage side speakers. (This effect was more evident when they were doing introductions). It would appear that the Stables sound staff were listening via the monitoring desk, not the "real" sound and were non-receptive to audience comment. Colin told me that the venue's new system had been "set up" by somebody using an audiometric device in an empty auditorium, and that despite several hours of sound checks the group were not exactly happy with the result. It's a pity that performers' excellence can be jeopardised by an insensitive sound crew. (We musicians have all been afflicted at some time!)

"Apache" Changed Things

Bless Mojo Magazine, a modern music journal that gets the past right time after time, according early British rock 'n' roll its proper due in the pop pantheon.

Latest case in point: The Shadows' epic, 1960 recording of "Apache" makes the June issue's "100 Records That Changed the World!" feature, twanging in at No. 84, five places ahead of Oasis's "Definitely Maybe" LP.

Contemporary singer-songwriter Richard Hawley genuflects on the majesty of it all. I'm sure Colin Pryce-Jones would concur (erm, minus the f-expletives and LSD bit).

Mojo Magazine, June 2007