Читать книгу: «Where’s My Guitar?: An Inside Story of British Rock and Roll»

Contents

1  Cover

2  Title Page

3  Copyright

4  Dedication

5  Contents

6  Praise for Bernie Marsden

7 Introduction

8 Preface

9  1. New York, New York, 1980

10  2. Going to my Home Town

11  3. Look Through Any Window

12  4. Welcome to the Real World

13  5. To the City

14  6. Dance on the Water

15  7. PALS with Deep Pockets

16  8. Whitesnake

17  9. Free Flight

18  10. Come an’ Get It

19  11. Look At Me Now

20  12. Baked Alaska

21  13. Shooting the Breeze

22  14. In the Company of Snakes

23  15. Going Again on my Own

24  Afterword: Guitars and the Sickness They Induce

25  Seminal Moments in my Musical Education

26  Picture Section

27  Acknowledgements

28  About the Author

29  About the Publisher

LandmarksCoverFrontmatterStart of ContentBackmatter

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Praise for Bernie Marsden
Pat Cash, tennis champion

‘There wouldn’t be many guitar fans who haven’t heard a Bernie Marsden riff somewhere along the road. That goes for anyone alive in the ’80s and early ’90s, guitar fan or not. My first awareness of Bernie was during the glory years of Whitesnake while I was travelling the world making a career in tennis. Great album after great album, catchy riffs with melodic yet rocking solos. It was post-Whitesnake that I discovered the Marsden voice in its full extent, his most recent blues albums showing those talents. As a Rory Gallagher fan his Bernie Plays Rory album was more than a worthy tribute – a pure joy. No wonder he is applauded throughout the blues and rock world as one of the iconic musicians of his generation.’

Dónal Gallagher, brother of Rory

‘Rory’s admiration for Bernie as both a musician and as a person was huge and I share my late brother’s sentiments. Actions speak louder than words – Bernie was the first guitarist allowed to perform with Rory’s Stratocaster after his passing. In addition to his own great abilities, Bernie carries the torch!’

Steve Lukather, Toto

‘Bernie is part of the legendary wave of British blues-rock players I heard that had it all. His soul, chops and sound resonated with me. He is also a first-class gentleman and when he came to meet me and see me the first time Toto played in London in the very early ’80s he brought Jeff Beck and Gary Moore. Like I wasn’t intimidated enough by him … ha, ha! This started a lifelong friendship. Bernie is one of the best in every way and I am honoured to call him my friend – and he is one badass guitar player!’

Ian Paice, Deep Purple

‘Bernie is one of those rare musicians who can play whatever is required of him. Rock, blues, pop, you name it and he will do it, and do it very well! A talent in itself. But the other string to his bow is his writing. Back in the Whitesnake days it was obvious that without those songs, the band would have found it much harder to break through and enjoy the success it achieved. Those songs started out from Bernie’s imagination. No Bernie – no songs.’

Paul Jones, musician and broadcaster

‘I think the first time I played with Bernie was when he sat in with the Blues Band at a gig in Swindon, and I thought, Wow – this heavy metal guy can really play the blues! As time went on, I discovered that the blues (and soul) have informed all his work. The other thing I admire about Bernie is his humility. I’ve seen it on many occasions – not least the times when he’s contributed to my charity gigs at Cranleigh Arts Centre.’

Warren Haynes, the Allman Brothers Band

‘I first met Bernie in 1991 when the Allman Brothers came to Europe. There was a benefit at the Hard Rock in London and a bunch of us went and wound up jamming. I heard Bernie play and not only did he play great but he had the best sounding rig of anyone on stage. When it came time for us to play I asked him if I could play through his gear, saying something like, “You’ve got the only good-sounding rig on stage.” He laughed and obliged. We became instant friends and have played together numerous times since. I really love his economy of notes and the fact that the most important thing to him is to get a good sound first (which he seems to be able to do with any setup) and then take it from there.’

Zak Starkey, The Who

‘If I had never met Bernie Marsden I would never have spent three years sitting on his garden furniture in the back of a transit crying with laughter and playing the real blues all over the UK, Europe, Northampton and JBs Dudley.

There is Whitesnake, yes, but let’s not forget Bernie’s great pop sensibility in his work with Mickie Most in the ’70s. Bernie is a dear friend for life who never actually paid me but taught me so much about playing with empathy, sincerity, emotion, and fucking huge balls that I owe him at least forty quid.

We bonded over Freddie King, who I was lucky enough to see play once. Bernie has Freddie King’s shoes and he’s getting ready to dust his broom in the palace of the king. A perfect hideaway to stumble into while steppin’ out, walkin’ by himself and … sorry I digress as usual – here I go again.’

Elkie Brooks, singer

‘Having always been a huge fan of blues music and its various transitions throughout the years, there is nothing better than to hear it played with style and integrity. Bernie Marsden has both in abundance.

We did not work together until 2002 when I was appearing at the Maryport Blues Festival, Cumbria. Bernie was on the bill with his own band that night and I asked him if he would like to get up and do a few numbers with my band later. It was a special night and the atmosphere in the marquee was electric. Bernie added his own dynamic to our sound and it was a great gig. A few years later I called up Bernie and asked if he would possibly come on the road with us for a few months … so off we went! He was such a marvellous addition and a real pleasure to play with.

Among the stunning array of songs Bernie has written, I really fell in love with “A Place in my Heart”. A real testament to a true talent.’

Bob Harris, broadcaster

‘We first met in 1970, just before I joined Radio 1. I was a DJ at the Country Club, a very cool north London rock venue where Bernie appeared with Skinny Cat. Even now I can remember Bernie’s playing – “just like a ringing a bell”, as Chuck Berry would say. He was a fabulously expressive, economical guitarist. At a time when speed seemed to be of the essence, Bernie’s style was relatively understated but beautifully constructed, already demonstrating his intuitive knowledge of what spaces to fill and how much space to leave. It’s a rare gift.

Since then, as we know, he has enjoyed massive success as a player, writer, Hollywood film score composer and a member of one of the biggest bands in the world but despite all the head-turning fame, he has always kept his feet on the ground.

Recently, Bernie joined me in my home studio to play an acoustic session for my TeamRock show, Bob Harris Rocks, a full-circle moment. He has deep respect for and amazing knowledge of the players who helped influence his style and who laid the foundations of so much of the music we’ve loved and supported these past forty-six years.

It feels good to have known Bernie all this time and to have shared many great moments. They all really mean a lot. I have massive respect for him as a superb musician but even more than that, I cherish him as a friend.’

Jack Bruce, Cream

‘When I saw Bernie leaving Abbey Road Studios as I arrived, I said to him, “Turn around, man, you’re playing on my new album!” This was the best move I ever made. Bernie’s delicacy of touch hides the great power of his playing. He has that amazing quality of making every note sound like the only possible note that could be played – and that’s before you consider the depth of his sound. He is simply fantastic.’

BB King

Email from Juergen Hoelzle of FRS Radio Stuttgart: ‘In 1996 I had the pleasure of interviewing BB King for my radio show. We talked of many things, I don’t need to give you a breakdown. Well, except one thing, which it has occurred to me that you might not be even aware of. Near the end I asked, “Can white men feel and sing the blues?”

His answer surprised more than a few people and the room was buzzing when he said, “Most of them don’t ’cos they do not have the soul for it, sure they can play the blues, but that’s not the point. You have to feel the blues, you must go deep into the blues, open your mind and soul. In my opinion there are only a handful of white musicians in the world who can play the Blues like they should be played: Eric Clapton, Jeff Beck, Peter Green, Jonny Lang, John Mayall, and don’t forget that Whitesnake guy, Bernie Marsden, he got it too. It is not because of their technique, it’s also not their bluesy voices, it’s just simple, they have the blues and that’s it.’

Introduction

I first met Bernie Marsden in Musicland Studios in Munich when Paice Ashton Lord (PAL) had come to town to make their debut album, Malice in Wonderland. I’d popped in to say hello. Bernie was the singer and guitarist with PAL. I found him welcoming, charming and personable. Who could have known that within a few years we’d be making Whitesnake a band to be reckoned with worldwide?

The second time I saw him was in London. PAL had folded and Bernie quite boldly suggested himself for the band I was putting together after Deep Purple. He immediately established himself by playing and singing great, and bringing his excellent sense of derisive humour to the mix, which was a huge part of early Whitesnake.

Bernie, Micky and I wrote the songs that created Whitesnake’s sonic identity and helped to make the band a household name. The vocal blend of the three of us worked refreshingly well and our choruses inspired the creation of the Almighty Whitesnake Choir – ah, sweet memories.

Bernie was truly an invaluable band-mate, friend, musician and co-composer of many of my favourite Whitesnake songs, particularly ‘Walking in the Shadow of the Blues’ and ‘Here I Go Again’, probably our most recognised and successful song. It has served us and continues to serve us very well, hasn’t it, ol’ son?

’Tis a biggie, for sure …

I am so happy we are back in each other’s good books and get to jam together whenever I have the pleasure of performing in our home country.

Happy trails, ol’ chap.

David Coverdale, Lake Tahoe, 2019

Preface

Over nearly fifty years on the road as a professional musician in different cities, countries and continents, I have often thought about Brian Davies.

Brian was a couple of years above me at secondary school in the Sixties in Buckingham, my home town just north-west of London. He was always friendly to me and was an all-round good guy. I remember him being a particularly good athlete: good at running, long jump and javelin. His girlfriend at the time was Diane Jones, someone who I secretly worshipped from my lowly position in the younger classes. I played football with him at school and later for Buckingham Town Juniors. I was a decent enough player but I always thought that he was a very good footballer.

As far as I could see, Brian Davies had it all. We got along well without being close friends. He left school two years before I did, but we still saw each other at football games and sometimes at the pub when I might have been playing the guitar. My playing had always fascinated Brian.

The last time I saw Brian was in 1970 at the corner of Buckingham’s West Street and School Lane, where we had a short chat. He said he was no longer with Diane Jones and that he hadn’t been able to play football much of late. I told him that I still wanted to be a professional musician; Brian and I had often talked about our dreams. I thought he looked a little grey. Under his arm he carried an old-fashioned glass medicine bottle full of a lurid green liquid. I told him not to drink too much of it: whatever was inside looked as though it might kill him. I could not have been more wrong about that – he had actually been prescribed it to treat a cancer, Hodgkin’s lymphoma. Brian passed away later that same year. I was deeply shocked. He was so young, just 21, and I was only 19. Brian had always encouraged me to be a professional musician. He championed my ability and said that I shouldn’t ever give up. I still think about Brian Davies a lot.

At every milestone I have reached, a little piece of Brian has been there with me. Whether it was stepping off the plane for the first time in Japan, getting the phone call to say ‘Here I Go Again’ had reached US No. 1, or receiving my honorary degree from the University of Buckingham, I’ve always thought of him.

1.
New York, New York, 1980

On 9 October 1980, the Whitesnake tour bus driver drove over the Brooklyn Bridge and into Manhattan. My mind was racing and I was full of excitement although I tried to appear cool. At last I was in New York City.

David Coverdale walked up the bus, smiling, and shook my hand. He knew what it meant to me. He had been the one to shake my hand the first time I landed in the USA, in San Francisco. He had felt the same the first time he came here, with Deep Purple. I stared at the skyscrapers. It seemed as though there were so many. I couldn’t wait to see Times Square, the Brill Building, Radio City, and Carnegie Hall.

My thoughts drifted to the shows I had done at school concerts, carnivals, wedding receptions, pubs and birthday parties, and in village halls. I felt a huge sense of nostalgia. I looked around the bus, taking in the musicians I was playing with: Jon Lord, Ian Paice, Neil Murray, Micky Moody, and David Coverdale, all now in the same band as me.

Madison Square Garden – here I come.

This had been a huge goal for me since my teenage years, when I listened to live boxing on my portable radio from MSG. I explored the venue by myself when we arrived. I felt like a kid. I wanted to find those boxing dressing rooms and be able to stand in the very spots Joe Louis, Rocky Marciano, Joe Frazier, Muhammad Ali and the Raging Bull himself, Jake La Motta, prepared for the biggest fights of their lives. Marilyn Monroe sang ‘Happy Birthday’ to JFK here, and the likes of the Jackson 5, Stevie Wonder and Alice Cooper had performed there.

Whitesnake would open for Jethro Tull that night in front of some 15,000 people as part of our US tour. I had been frustrated many times in previous years by tours in the US being cancelled for various reasons but now all of that was unimportant. It had taken less than eight years to go from my local town hall to Madison Square Garden. No time at all really.

We stayed at the famous Navarro Hotel, a magnificent gothic building overlooking Central Park. Its residents included film stars, poets, musicians, singers and artists and Jacqueline Susann wrote Valley of the Dolls there in the 1940s. Musical guests included Jimi Hendrix, the Kinks, the Rolling Stones, the Grateful Dead and Jim Morrison. I shared an elevator with actor James Caan when I arrived. Sonny Corleone and me in a lift! I tried to be the cool Englishman as Mr Caan smiled, ‘Nice socks.’ I had completely forgotten that I was holding a spare pair lent by Mick Moody. ‘Take care with those socks,’ said James Caan as he got out.

Whitesnake had no creative management whatsoever but had managed to get to America. That was testament to how together we were at the time. We were ready and it was our time to go global. I was back on the bus and heading for Madison Square Garden in no time. The gig was over far too fast. Jethro Tull’s audience liked us a lot, although we were practically unknown in America. Jon Lord and Ian Paice received the biggest recognition as Deep Purple still meant something to the fans.

Time to break America – that was the plan. But plans don’t always work out, do they? Let’s go back to the start.

2.
Going to my Home Town

I was born on 7 May 1951 in Westfields estate in Buckingham, an extremely quiet town of between 2,000–3,000 souls. My mum and dad were working-class parents and, boy, did they work hard. When I was four we moved to a brand-new council house in Overn Avenue. This was a triumph – my parents had earned their new house, and they loved it. It was my castle.

Buckingham had old-fashioned shops, rather than supermarkets – butchers, greengrocers, a wool shop, a saddler, two gentlemen’s outfitters and a very good toyshop. Walter Tyrell, the fruit-and-vegetable man, delivered to our estate twice a week, his overloaded cart drawn by one of his small ponies. Brook’s Dairies delivered milk and orange juice daily, also by horsepower.

My Victorian-built primary school was in Well Street. I got on well with the teachers, except deputy head W. T. Benson. I don’t know why he took such a dislike to me. When I was seven he ridiculed me in front of the class for a spelling mistake. All he did was make me realise that I rather enjoyed being the centre of attention – a sign of things to come!

I failed my eleven-plus and went to the secondary modern. I never did go to university, but in 2015 the University of Buckingham honoured me with a master’s degree for services to music and Buckingham! I accepted with a great deal of pride. My dad was there with my wife, Fran, and daughters Charlotte and Olivia. I wish that my mum could have seen it, but she passed away the previous year. I did find it ironic to be mingling with brilliant academics who had years of hard study under their belts when I had received only a very average education myself. Some of my teachers had also taught my mother some thirty years earlier. Imagine that! How could they possibly relate to my generation?

I was twelve when President Kennedy was shot in November 1963. I remember being scared by my mum’s reaction. ‘There will definitely be a war if the Russians did it.’ I went to the pictures that night, but I couldn’t take my mind off JFK and impending doom. I had butterflies in my stomach the whole time. Young people in that cold war period lived in constant fear of the Russians and another world war. But the USSR was innocent, this time, and therefore not going to bomb us off the planet.

Beatles records had started hitting the charts that year – they cheered America up, and they cheered the world up. In my head, it was the Beatles who beat the Russians – I was convinced of that fact. They also ended the reign of the artists I had grown up with in my household – middle-of-the-road stars like Joe Loss, Jess Conrad, David Whitfield, Pearl Carr and Teddy Johnson and Perry Como. Meanwhile, Lonnie Donegan, Joe Brown, Cliff Richard and the Shadows survived and managed to stay with the new army. I had become a fan of a few of them: Joe Brown, Cliff Richard and Marty Wilde. They seemed splendid. Their shiny guitars fascinated me. I watched them on Ready Steady Go!, Juke Box Jury, and Thank Your Lucky Stars.

My cousin Sylvia Chalmers was a huge fan of Elvis, but she was older than me. Merseybeat was the happening thing and all I could think about was guitars. But now came the hard bit for an almost-teen. Just how do I learn to play the guitar?

There were no musicians in either side of my family. The first person I ever saw playing the guitar in the flesh was Roger Williamson from Northampton. He played ‘Apache’ by the Shadows at my cousin Jean’s wedding reception in 1961 and I think he had a gleaming red Fender Stratocaster. I didn’t really know how to judge but I thought he played really well. He played ‘Shakin’ All Over’ by Johnny Kidd and the Pirates, a seminal song with the guitar riff of the period. Guitarists today still rate it. London session guitarist Joe Moretti plays those brilliant parts on a white Fender Telecaster.

I was fortunate at a ridiculously young age to have seen acts at Buckingham Town Hall and in the surrounding towns. There was always the potential for danger, with fights breaking out during sets, but I used to sneak in the back of the town hall and climb into an old lighting box to watch the bands on Friday nights, usually fibbing to my folks that I was visiting my grandparents. I saw Screaming Lord Sutch and the Savages – at a time when there was with the real possibility that Ritchie Blackmore was playing guitar – Joe Brown and the Bruvvers, maybe Neil Christian and the Crusaders with Jimmy Page on guitar, Freddy ‘Fingers’ Lee, Mike Sarne and Bert Weedon. I was bitten by the excitement, alone up there, with the hall full to bursting.

I was in Steeple Claydon hall one Saturday night in 1964 to see the Primitives, and I thought they were fabulous. I got as close to the stage as I could. I had never seen men with such long hair – I was more than impressed. They made two singles for Pye Records and Jimmy Page played on both of them, I’m told. They came from Oxford but their home could have been Jupiter as far as I was concerned. I had seen them on the TV, and now I was a few feet away from them. I was captivated.

I used to see a guitarist from nearby Winslow when I was 14. Nipper – his real name was Gerald Rogers – had quite a reputation and often played weddings. His group was the Originals – Les Castle, Snowy Jeffs, Nipper and either Keith Fenables or Maurice Cracknell singing. Nipper played guitar. One night at the Verney Arms I heard them do Muddy Waters’s ‘Hoochie Coochie Man’. It was a revelation to hear local guys play this, and play it well.

My cousin Keith Aston had somehow got a guitar but I was under strict instructions not to touch it. I did, of course. I found it a hugely pleasurable experience, just holding it and touching the neck. I didn’t really understand the feeling, it just felt right. I had to have my very own guitar and I bugged my folks until they caved in. Finally I had a very old and very used acoustic Spanish guitar. It wasn’t particularly good, I knew that even then, cheap and hard to play, especially for a beginner. It was almost impossible to hold one or two notes down, let alone a chord. I persevered until my fingers bled, skin coming off the tips. My hand ached beyond description and became such a painful claw that Mum asked me why my fingers were such a mess. She was genuinely concerned. I practised every single day for months on end and, gradually, the pain subsided, although the worn-out instrument remained extremely difficult to play. This was how I learnt my craft, and what a miracle that I, and countless others all over the country, were prepared to go through this pain barrier.

I astonished my folks one evening when I was able to play along with the theme tunes from Coronation Street and Dixon of Dock Green. They were both very enthusiastic but I told them that, even though I had improved, the guitar was holding me back. I thought my heavy hint was a bit of a long shot but to my delight they agreed. Thank you, TV theme writers!

I saved every penny from my paper round, and had been saving all my birthday and Christmas money for a couple of years. I had enough money for a deposit! Dad said he would help me out as much as he could. ‘How do we get an electric guitar?’ he said. I knew exactly where. I had been there before.