Post by hollowmoor on Nov 13, 2012 16:30:03 GMT
Hello all,
The interview with Eric Brooks used in the new TAAB anniversary set did not include the last few questions concerning his reasons for parting company with the band so here we have the complete unexpurgated version.
Eric has been very generous with his time and very forthcoming about his years on the road with the band and gives an interesting new persepctive into Jethro Tull as a touring band.
So sincere thanks must go to Eric for this and as he is a member of this forum he may well drop by here from time to time if you want to ask him something....
Interview with Eric Brooks (Jethro Tull tour manager 1969 – 1973)
What was your background prior to joining Jethro Tull?
I was born in Merton, Surrey on December 23rd 1938. As a youth from age fifteen on, a group of us lads would visit local venues in Morden, Sutton and North Cheam and [further afield in] London to listen to traditional (or dixieland) jazz bands like Chris Barber, Humphrey Littleton and Ken Collier, modern jazz from Tubby Hayes and Ronnie Scott and big band from Johnny Dankworth.
The promoter of the Marquee Club, Harold Pendleton, was also the manager of ‘Long John Baldry and his Hoochie Coochie Men’ and in April 1964 he offered me the job of roadie for the band. So on Sunday April 26th 1964 I began my illustrious career as a roadie extraordinaire. I stayed with John through several progressions until the formation of 'The Steam Packet' which followed the trend of the moment to create 'Super Groups'. The line-up was LJB, Rod Stewart and Julie Driscoll with the Brian Auger Trinity. Their first gig was on Friday 16th July 1965 at the Odeon Theatre, Exeter. This turned out to be a terrific show group with many possible combinations. The group was very entertaining and popular but their future was limited because they could not record with three different [record] labels involved and eventually both Brian and Rod wished to go their own way. When the break-up came in September of 1966, I elected to stay with Brian and Julie. This arrangement lasted until November 1968 and I will say that I really enjoyed my time with Brian and Julie. In those two years plus we played residencies in Rome, Milan, Viareggio, Paris, Zermatt and St. Tropez. These were cushy gigs for me because there was very little for me to do except monitor the equipment and run sound each night. Eventually I hired myself out of a job by picking up two roadies somewhere along the way and I left the group in November 1968.
In December 1968 I joined ‘The Paul Williams Set’ which was the remains of ‘The Alan Price Set’ after Alan left. I worked for them until April 1969, took a short break then joined ‘Eclection’ on May 2nd 1969.
When did you join Tull as tour manager?
In early August of 1969 Terry Ellis sent an emissary from Chrysalis to the roadies’ favourite bar: ‘La Chasse’ on Poland St, to invite me to an interview with Terry. I was offered the job of Tour Manager for the modest but welcome sum of £70 a week. Well, I came on board on August 19th 1969 and the rest, as they say……
I don't believe they had a tour manager as such before I joined. I would assume that Terry handled those duties.
Can you tell me something about the other touring crew members?
The road crew was Roy Bailey, Frazer Aitken, Pepe, and Chalky White (sometimes). I think John Burns was the first sound guy then he was succeeded by Alan (Mac) Mackenzie who was later re-assigned as 'Advance Scout' and replaced by a young man I hired whose name was Dave Morris. Dave was a diminutive, boffin type guy who was technically brilliant and he was a great asset.
Roy was a solid, reliable, conscientious worker, somewhat stoic in demeanour with a dry sense of humour. Frazer was Scottish and a terrific guy, great personality, hard worker and always up for a good time. Early on in our association, '70 or '71, we were on a ferry over to Sweden or Denmark and it was quite rough. Frazer had to upchuck over the side but forgot to remove his false teeth before doing so. His top set dived overboard and is now sleeping with the fishes in the North Sea. The thing is, he never replaced that plate and so that's how I remember him – as looking much older than he should have with a big, gummy grin. I have since heard from Clive Bunker that he believes Frazer has passed away but I don't know the circumstances.
Pepe was a lively, energetic little guy with thick black wavy hair. Can't say I got to know him very well. John Burns was a fairly quiet, low-key kind of guy. An efficient sound person and quite pleasant but I got the impression he was not terribly happy with this kind of life and wasn't with us too long.
Mac was also a capable sound guy, easy going, good mixer. Good choice for an advance/set-up guy business-wise but, I think, not too happy at being out there by himself so much.
The four roadies had a pretty tough job when you consider their schedule, they had to put up and take down all the 'personal' gear I described earlier and take it to every gig and do it all over again. They would have had to grab sleep when and wherever it was possible.
What were your responsibilities as tour manager?
My responsibilities were to coordinate with the travel agency all travel and accommodations for band and crew. Call all the promoters and go over a check list of all our requirements. This list changed and upgraded with every tour but it always included access information; power requirements; dressing room facilities; catering; sound and lights; security arrangements; orchestrate radio/press interviews if applicable; pick up cash if required and finally, go over ticket sales and printing manifests (early tours only).
Once I got the band ready to go on I would go out to the light board in the audience and run lights for the show. At the end of every day, last thing, I would gather up receipts and note down the daily expenses in my register. I always paid hotel bills in cash on check out so I could make sure there were no charges that I couldn't verify. I would also keep tabs on the roadies, check in with Roy [Bailey] every day to make sure they were bearing up or had any problems. On top of all this practical stuff I would wrangle the boys on and off planes and in and out of hotels and keep an eye on their welfare.
At the end of a tour my accounts were handed over to auditors in New York and I would have to wait a couple of days before I was cleared to go home. There was never a time when they failed to pass examination and so Terry would give me a generous bonus.
My only duties [while the band were in the studio] were to drive Ian to and fro from his flat and to hang out for possible gofer duties.
Did you have responsibilities towards other bands?
I had no connections with any other bands.
How did your responsibilities change over the period you were with the band?
The logistics changed as our status increased. Our travel, accommodation, lights and sound were all largely determined by the level of our status and income for the tour. In 1969 we were performing for $5,000 – $10,000 in clubs like Filmore East and West, the Aragon Ballroom in Chicago and Civic Auditoriums and we had to use their sound and lights, which were mostly awful. Then with good reviews and word of mouth we became more popular and the records were doing well, then Aqualung shot the band to the stratosphere and we were doing five nights in Madison Square Gardens, five nights at The Forum in LA etc. Now we're at the point where we have to have massive sound and lights and a large stage. This all took a whole day to set up so we had to get duplicates of stage, sound and lights and they would leap-frog each other through the tour. We also had a personal truck that carried the band's personal amps, instruments, drums, microphones, props etc. to every gig. These travel logistics dictated the scheduling of concerts to allow for set-up time and sound checks.
Was there an element of making it up as you went along as the band and the business got bigger and bigger?
Absolutely, as I said earlier circumstances changed with every tour and it would take far too long to describe in particular how it went but here is one example: Early on, before we got to the 'personal truck' stage, when we were flying everything, I had to get about 25 pieces of equipment on the plane (besides regular luggage) which of course exceeded the limit of two pieces per person. So I would make reservations for about a dozen fictitious people whose 'luggage' arrived early for the flight down on the tarmac in the company of Roy and the boys in a rented truck. Of course this was long before the security problems of today. Mysteriously the extra passengers never showed up but their 'luggage' was already on the plane.
[Eric features in the German TV ‘Swing In’ documentary filmed in October 1969]
In the 1969 documentary there is quite a touching scene where you pick up Glen Cornick from his parent’s pub and his Mum and Dad wave him off. This is followed by a sing-a-long in the car led by yourself. Were you something of a father figure to the band in the early days?
I would not describe it as a 'father' figure, I am only a few years older than those guys. I just tried to be efficient so they would come to trust that I had things under control and I also tried to keep things upbeat so that this whole experience would be fun as well as business.
Do you remember having the film crew in tow for a couple of weeks?
Well, if I'm honest. . . of course they were pleasant and cooperative, but I have to say that I thought the crew were quite amateurish. I do not recall there being a 'director' as such who was in charge and knew what was required and how to get it. They did not seem to have a basic plan on the exposure of each individual so that it seemed disjointed and haphazard. Well, you did ask!
How did you get on with Terry Ellis, Ian and the other band members?
I got on very well with everybody and I thought the whole group got on well with each other. We all respected each other’s space when necessary and poked fun when appropriate. I think they all had a great sense of humour and any one of them could be very funny. John and Jeffrey had a very dry wit and John was 'out there' sometimes. I remember when John went through a period where he would carry a half dozen or so of the little plastic ducks that you see at the fairs, where you try and hook them out of the water. When we got off a plane and went to baggage claim, the flat carousel would be going round and John would place his ducks in line on the revolving carousel. It was hilarious to watch the people waiting for their baggage and here come these little yellow ducks.
Personally, as it turned out, I got on particularly well with the two drummers I worked with; Clive and Barrie. It seemed the three of us had a very similar sense of humour and we really enjoyed each other’s company. Years later, in the early 2,000's, when I would go over to visit my two brothers, we would get together at Barrie's marvellous house and grounds on the Thames at Henley, we'd get quite wasted and listen to some great music Barrie had recorded with some friends in his stables-turned-studio.
Johnnie Burns has talked a little about the post-gig camaraderie, the card games and sharing rooms etc. What do you remember of those days?
It's true, we did have many a fun evening playing Spades and Hearts when there wasn't an actual party going on. How about this: we were in Toronto and I had deposited a young lady in my room while I went for some beer. I called in to John Burns' room and got into some cards and I completely forgot about the babe in my room. She started calling round all the rooms until she found me and I went berserk. What a doofus! I'm happy to say she forgave me and I made it up to her.
In 1972 for the Thick As A Brick tour the stage show became far more theatrical. What do you remember about those elements of the show?
I remember the show very well and I thought it was huge fun. Musically, this album must rank as one of the greatest 'theme' albums ever produced and during this tour I ran the light board along with four super-troopers on the head phones. In this function I had to provide a light show that would complement the music and not distract you from it. This was definitely the most enjoyable part of my job. Most of you will remember of course that this was the tour which began with the 'trench coat men'. It was fun for me, sitting at my board out in the audience, to watch the reactions of the crowd as the 'routine' took place and the musicians ended up at their instruments.
One night I got an idea and I asked Dave (Morris) if he could run a wire from the phone on stage out to me at the light board. This he did and that night when the phone rang on stage and Ian picked it up, I was on the other end and I said, “Hi Ian, how's it going? There's someone out front looking for a Lloyd Bridges.” Ian was quite taken aback and then went through with the bit. Actually, he didn't think it was as funny as I thought it was! That was a very entertaining show. I had no input on the staging theatrics so I cannot comment on the process.
Not being involved as a musician my recollections are of a more practical nature, particularly the amazing newspaper packaging, 'The St. Cleve Chronicle'. It was quite a substantial project with the whole outfit contributing to the project in some way or other. Myself (aka Brian Payne), Mac and [Robin Black, the studio engineer] were in the ‘Fennel' team picture on the back cover and I had the honour of being featured in a box ad as 'Brooks Tours'. Also, all our cars were on sale in the small ads.
What do you recall of the recording sessions in France in the summer of 1972?
I was not involved with that project, I was just aware that they were in Paris, and my services would not be required. I believe the recording at Morgan went quite well.
You feature in the spoof theatre program included in the A Passion Play album as being responsible for the lighting at the Linwell Theatre….
I have never seen that theatre program and I’ve never actually owned a copy of A Passion Play but yes, I did do lighting for the show throughout my tenure. I also featured in the film of ‘The Hare Who Lost His Spectacles’ as a demented cameraman chasing Jane (the ballet dancer) backstage up some stone stairs.
When and why did your time with the band end?
The cause of the termination of my employment with Chrysalis Artists and Jethro Tull was souvenir posters – even though – ironically - Tull paraphernalia was not even one of my responsibilities.
I do not remember the exact date or venue - I had no reason to note it – but somewhere near the beginning of the last North American tour in October of 1972, (Buffalo, Rochester or Bangor) we were at a venue and I was cruising the lobby, probably checking the security situation, when I was approached by two young men who stated that they had printed a sizeable number of Tull posters and requested permission to sell said posters in the lobby. I replied that this was not in my jurisdiction but I would go and ask the manager, Terry Ellis, who happened to be with us on this gig. Terry gave his permission which I relayed to the entrepreneurs and they went to do their thing and they subsequently showed up at several other gigs on that tour. I need to interject at this point that there was no discussion whatsoever about any kind of remuneration for myself in this arrangement. I also did not know, or care, if Terry had made any financial arrangement with these folk.
At the end of the tour I was in New York to settle up my bookkeeping with the auditors. The poster sellers had tracked me down to my hotel and came up and presented me with an envelope containing $1,200 in cash. I was totally flabbergasted, not expecting anything like this. They proceeded to tell me that this was my 'commission' for expediting their original request. I thanked them and we all went off about our business.
Fast forward to the next tour and on 7th May 1973, at the Hershey Arena in Hershey, Pa., the poster guys showed up again with the same request. I quite reasonably figured that since Terry had given his permission before it would be okay.
WRONG! (Right here I believe I might have averted the disaster by going to Terry again and making the request, which would have been in the negative – as I was about to find out – and gone back to the sellers with the news and I believe we might have been able to work something out up to and including repaying the $1,200. They probably went down the street a ways and sold the posters anyway.)
I told them okay and went backstage, shortly thereafter and before the show, Terry came steaming backstage and told me that he had ejected the poster guys and they had got very angry and blurted out that they had paid me that $1,200 which was a really dumb thing to do on their part because it achieved nothing in their favour to do that. Plus they knew that the first payment carried no arrangement for any further business. Terry then announced that I was fired as of immediately after the show and that I was to proceed directly to the hotel and catch the first flight out the next morning and I was not to attempt to speak to anybody in the outfit before leaving. Obviously it was Terry's opinion that the 'perk' was the group's property and not mine. Even so, I thought the situation could have been handled with a little more consideration for my feelings and position.
It turned out however, as I found out much later, that this was a perfect opportunity for Terry because he had re-organizational plans for the whole management structure which apparently did not include me.
Many years later, after I had moved to Atlanta in 1980, around 1996–7, I began flying home regularly each year in Feb/Mar to visit my older brother in Haywards Heath. I had remained in contact with former drummer Clive Bunker who lived in the Bedford area and we used to meet up at his house
and shoot the breeze. In 1999 I managed to hook up with Barrie Barlow who lived not too far from Clive in Henley-On-Thames. My wife and I spent an overnight with Barrie and had a real good catch-up time. It was then that Barrie told me the whole story about what happened after I left. I was replaced by three people because the job was divided up into three areas: 1. A personal roadie for Ian only 2. A Bookkeeping person and 3. A roadie for the rest of the group. Barrie told me that Ian was separated from the rest of the group, travelled separately and stayed in different hotels and the whole thing became very regimented and not much fun. Alan Mackenzie remained as advance 'set-up' guy.
So there it is, a sad tale of an ignominious ending to a great experience. I enjoyed my time with JT. I met a lot of great people, including my first wife! Leaving the band enabled me to get married in 1974 and emigrate to Miami and become a U.S. citizen.
In 1975 I went back to England to work for Gentle Giant who were switching management to – Terry Ellis. This only lasted a few frantic months and is a whole ‘nother story. . . .
I used to go to see the group if they were in Atlanta but that died away because the personnel changed to people I didn't know.
I now live happily and busily in Atlanta, Georgia.
What did/do you feel about Ian’s music?
I liked Ian's music very much. It was totally unique and made for entertaining listening. I liked Aqualung and Bouree. As we all know, there was a sea change with A Passion Play, and I didn't enjoy the following recordings very much although I should say that I have not listened to them extensively. I was really into Moody Blues, Yes, Supertramp, Genesis, CSNY, Chicago, etc.
Are you aware of any soundboard recordings made of any Tull shows by the crew during your time with them?
I am pretty sure there were no such recordings made of any Tull shows because it would not have been authorized and probably illegal. Ditto cine footage.
What are your thoughts on the changes in the rock touring business and its massive expansion?
I think the 'changes', as you describe them, might be better described as developments of a medium that has proved to be immensely popular and will therefore expand accordingly. I am impressed with the myriad variations of rock ' n' roll that have emerged, and still are [emerging], although that certainly doesn't mean I like them all.
Clive, Barrie and Eric. Henley-On Thames c2000
Footnote:
Eric has been an actor for the last 28 years and recently has mostly been doing audio books which are available on audible.com or amazon.
Just go to 'audio books' and punch his name in and you'll get the list.
Just in from Eric:
I recently appeared in a film made here in Atlanta called; 'Tyler Perry's Madea's Witness Protection'. It was a general release film over here because Mr. Perry has a huge following particlarly in the south and and he lives and works and has his studio in Atlanta.It co-stars Eugene Levy and includes a scene in a hotel where I play an unctuous, fawning, desk clerk. It is on DVD now.
(c) 2012: Eric Brooks, EMI Group Ltd & The Jethro Tull Forum
The interview with Eric Brooks used in the new TAAB anniversary set did not include the last few questions concerning his reasons for parting company with the band so here we have the complete unexpurgated version.
Eric has been very generous with his time and very forthcoming about his years on the road with the band and gives an interesting new persepctive into Jethro Tull as a touring band.
So sincere thanks must go to Eric for this and as he is a member of this forum he may well drop by here from time to time if you want to ask him something....
Interview with Eric Brooks (Jethro Tull tour manager 1969 – 1973)
What was your background prior to joining Jethro Tull?
I was born in Merton, Surrey on December 23rd 1938. As a youth from age fifteen on, a group of us lads would visit local venues in Morden, Sutton and North Cheam and [further afield in] London to listen to traditional (or dixieland) jazz bands like Chris Barber, Humphrey Littleton and Ken Collier, modern jazz from Tubby Hayes and Ronnie Scott and big band from Johnny Dankworth.
The promoter of the Marquee Club, Harold Pendleton, was also the manager of ‘Long John Baldry and his Hoochie Coochie Men’ and in April 1964 he offered me the job of roadie for the band. So on Sunday April 26th 1964 I began my illustrious career as a roadie extraordinaire. I stayed with John through several progressions until the formation of 'The Steam Packet' which followed the trend of the moment to create 'Super Groups'. The line-up was LJB, Rod Stewart and Julie Driscoll with the Brian Auger Trinity. Their first gig was on Friday 16th July 1965 at the Odeon Theatre, Exeter. This turned out to be a terrific show group with many possible combinations. The group was very entertaining and popular but their future was limited because they could not record with three different [record] labels involved and eventually both Brian and Rod wished to go their own way. When the break-up came in September of 1966, I elected to stay with Brian and Julie. This arrangement lasted until November 1968 and I will say that I really enjoyed my time with Brian and Julie. In those two years plus we played residencies in Rome, Milan, Viareggio, Paris, Zermatt and St. Tropez. These were cushy gigs for me because there was very little for me to do except monitor the equipment and run sound each night. Eventually I hired myself out of a job by picking up two roadies somewhere along the way and I left the group in November 1968.
In December 1968 I joined ‘The Paul Williams Set’ which was the remains of ‘The Alan Price Set’ after Alan left. I worked for them until April 1969, took a short break then joined ‘Eclection’ on May 2nd 1969.
When did you join Tull as tour manager?
In early August of 1969 Terry Ellis sent an emissary from Chrysalis to the roadies’ favourite bar: ‘La Chasse’ on Poland St, to invite me to an interview with Terry. I was offered the job of Tour Manager for the modest but welcome sum of £70 a week. Well, I came on board on August 19th 1969 and the rest, as they say……
I don't believe they had a tour manager as such before I joined. I would assume that Terry handled those duties.
Can you tell me something about the other touring crew members?
The road crew was Roy Bailey, Frazer Aitken, Pepe, and Chalky White (sometimes). I think John Burns was the first sound guy then he was succeeded by Alan (Mac) Mackenzie who was later re-assigned as 'Advance Scout' and replaced by a young man I hired whose name was Dave Morris. Dave was a diminutive, boffin type guy who was technically brilliant and he was a great asset.
Roy was a solid, reliable, conscientious worker, somewhat stoic in demeanour with a dry sense of humour. Frazer was Scottish and a terrific guy, great personality, hard worker and always up for a good time. Early on in our association, '70 or '71, we were on a ferry over to Sweden or Denmark and it was quite rough. Frazer had to upchuck over the side but forgot to remove his false teeth before doing so. His top set dived overboard and is now sleeping with the fishes in the North Sea. The thing is, he never replaced that plate and so that's how I remember him – as looking much older than he should have with a big, gummy grin. I have since heard from Clive Bunker that he believes Frazer has passed away but I don't know the circumstances.
Pepe was a lively, energetic little guy with thick black wavy hair. Can't say I got to know him very well. John Burns was a fairly quiet, low-key kind of guy. An efficient sound person and quite pleasant but I got the impression he was not terribly happy with this kind of life and wasn't with us too long.
Mac was also a capable sound guy, easy going, good mixer. Good choice for an advance/set-up guy business-wise but, I think, not too happy at being out there by himself so much.
The four roadies had a pretty tough job when you consider their schedule, they had to put up and take down all the 'personal' gear I described earlier and take it to every gig and do it all over again. They would have had to grab sleep when and wherever it was possible.
What were your responsibilities as tour manager?
My responsibilities were to coordinate with the travel agency all travel and accommodations for band and crew. Call all the promoters and go over a check list of all our requirements. This list changed and upgraded with every tour but it always included access information; power requirements; dressing room facilities; catering; sound and lights; security arrangements; orchestrate radio/press interviews if applicable; pick up cash if required and finally, go over ticket sales and printing manifests (early tours only).
Once I got the band ready to go on I would go out to the light board in the audience and run lights for the show. At the end of every day, last thing, I would gather up receipts and note down the daily expenses in my register. I always paid hotel bills in cash on check out so I could make sure there were no charges that I couldn't verify. I would also keep tabs on the roadies, check in with Roy [Bailey] every day to make sure they were bearing up or had any problems. On top of all this practical stuff I would wrangle the boys on and off planes and in and out of hotels and keep an eye on their welfare.
At the end of a tour my accounts were handed over to auditors in New York and I would have to wait a couple of days before I was cleared to go home. There was never a time when they failed to pass examination and so Terry would give me a generous bonus.
My only duties [while the band were in the studio] were to drive Ian to and fro from his flat and to hang out for possible gofer duties.
Did you have responsibilities towards other bands?
I had no connections with any other bands.
How did your responsibilities change over the period you were with the band?
The logistics changed as our status increased. Our travel, accommodation, lights and sound were all largely determined by the level of our status and income for the tour. In 1969 we were performing for $5,000 – $10,000 in clubs like Filmore East and West, the Aragon Ballroom in Chicago and Civic Auditoriums and we had to use their sound and lights, which were mostly awful. Then with good reviews and word of mouth we became more popular and the records were doing well, then Aqualung shot the band to the stratosphere and we were doing five nights in Madison Square Gardens, five nights at The Forum in LA etc. Now we're at the point where we have to have massive sound and lights and a large stage. This all took a whole day to set up so we had to get duplicates of stage, sound and lights and they would leap-frog each other through the tour. We also had a personal truck that carried the band's personal amps, instruments, drums, microphones, props etc. to every gig. These travel logistics dictated the scheduling of concerts to allow for set-up time and sound checks.
Was there an element of making it up as you went along as the band and the business got bigger and bigger?
Absolutely, as I said earlier circumstances changed with every tour and it would take far too long to describe in particular how it went but here is one example: Early on, before we got to the 'personal truck' stage, when we were flying everything, I had to get about 25 pieces of equipment on the plane (besides regular luggage) which of course exceeded the limit of two pieces per person. So I would make reservations for about a dozen fictitious people whose 'luggage' arrived early for the flight down on the tarmac in the company of Roy and the boys in a rented truck. Of course this was long before the security problems of today. Mysteriously the extra passengers never showed up but their 'luggage' was already on the plane.
[Eric features in the German TV ‘Swing In’ documentary filmed in October 1969]
In the 1969 documentary there is quite a touching scene where you pick up Glen Cornick from his parent’s pub and his Mum and Dad wave him off. This is followed by a sing-a-long in the car led by yourself. Were you something of a father figure to the band in the early days?
I would not describe it as a 'father' figure, I am only a few years older than those guys. I just tried to be efficient so they would come to trust that I had things under control and I also tried to keep things upbeat so that this whole experience would be fun as well as business.
Do you remember having the film crew in tow for a couple of weeks?
Well, if I'm honest. . . of course they were pleasant and cooperative, but I have to say that I thought the crew were quite amateurish. I do not recall there being a 'director' as such who was in charge and knew what was required and how to get it. They did not seem to have a basic plan on the exposure of each individual so that it seemed disjointed and haphazard. Well, you did ask!
How did you get on with Terry Ellis, Ian and the other band members?
I got on very well with everybody and I thought the whole group got on well with each other. We all respected each other’s space when necessary and poked fun when appropriate. I think they all had a great sense of humour and any one of them could be very funny. John and Jeffrey had a very dry wit and John was 'out there' sometimes. I remember when John went through a period where he would carry a half dozen or so of the little plastic ducks that you see at the fairs, where you try and hook them out of the water. When we got off a plane and went to baggage claim, the flat carousel would be going round and John would place his ducks in line on the revolving carousel. It was hilarious to watch the people waiting for their baggage and here come these little yellow ducks.
Personally, as it turned out, I got on particularly well with the two drummers I worked with; Clive and Barrie. It seemed the three of us had a very similar sense of humour and we really enjoyed each other’s company. Years later, in the early 2,000's, when I would go over to visit my two brothers, we would get together at Barrie's marvellous house and grounds on the Thames at Henley, we'd get quite wasted and listen to some great music Barrie had recorded with some friends in his stables-turned-studio.
Johnnie Burns has talked a little about the post-gig camaraderie, the card games and sharing rooms etc. What do you remember of those days?
It's true, we did have many a fun evening playing Spades and Hearts when there wasn't an actual party going on. How about this: we were in Toronto and I had deposited a young lady in my room while I went for some beer. I called in to John Burns' room and got into some cards and I completely forgot about the babe in my room. She started calling round all the rooms until she found me and I went berserk. What a doofus! I'm happy to say she forgave me and I made it up to her.
In 1972 for the Thick As A Brick tour the stage show became far more theatrical. What do you remember about those elements of the show?
I remember the show very well and I thought it was huge fun. Musically, this album must rank as one of the greatest 'theme' albums ever produced and during this tour I ran the light board along with four super-troopers on the head phones. In this function I had to provide a light show that would complement the music and not distract you from it. This was definitely the most enjoyable part of my job. Most of you will remember of course that this was the tour which began with the 'trench coat men'. It was fun for me, sitting at my board out in the audience, to watch the reactions of the crowd as the 'routine' took place and the musicians ended up at their instruments.
One night I got an idea and I asked Dave (Morris) if he could run a wire from the phone on stage out to me at the light board. This he did and that night when the phone rang on stage and Ian picked it up, I was on the other end and I said, “Hi Ian, how's it going? There's someone out front looking for a Lloyd Bridges.” Ian was quite taken aback and then went through with the bit. Actually, he didn't think it was as funny as I thought it was! That was a very entertaining show. I had no input on the staging theatrics so I cannot comment on the process.
Not being involved as a musician my recollections are of a more practical nature, particularly the amazing newspaper packaging, 'The St. Cleve Chronicle'. It was quite a substantial project with the whole outfit contributing to the project in some way or other. Myself (aka Brian Payne), Mac and [Robin Black, the studio engineer] were in the ‘Fennel' team picture on the back cover and I had the honour of being featured in a box ad as 'Brooks Tours'. Also, all our cars were on sale in the small ads.
What do you recall of the recording sessions in France in the summer of 1972?
I was not involved with that project, I was just aware that they were in Paris, and my services would not be required. I believe the recording at Morgan went quite well.
You feature in the spoof theatre program included in the A Passion Play album as being responsible for the lighting at the Linwell Theatre….
I have never seen that theatre program and I’ve never actually owned a copy of A Passion Play but yes, I did do lighting for the show throughout my tenure. I also featured in the film of ‘The Hare Who Lost His Spectacles’ as a demented cameraman chasing Jane (the ballet dancer) backstage up some stone stairs.
When and why did your time with the band end?
The cause of the termination of my employment with Chrysalis Artists and Jethro Tull was souvenir posters – even though – ironically - Tull paraphernalia was not even one of my responsibilities.
I do not remember the exact date or venue - I had no reason to note it – but somewhere near the beginning of the last North American tour in October of 1972, (Buffalo, Rochester or Bangor) we were at a venue and I was cruising the lobby, probably checking the security situation, when I was approached by two young men who stated that they had printed a sizeable number of Tull posters and requested permission to sell said posters in the lobby. I replied that this was not in my jurisdiction but I would go and ask the manager, Terry Ellis, who happened to be with us on this gig. Terry gave his permission which I relayed to the entrepreneurs and they went to do their thing and they subsequently showed up at several other gigs on that tour. I need to interject at this point that there was no discussion whatsoever about any kind of remuneration for myself in this arrangement. I also did not know, or care, if Terry had made any financial arrangement with these folk.
At the end of the tour I was in New York to settle up my bookkeeping with the auditors. The poster sellers had tracked me down to my hotel and came up and presented me with an envelope containing $1,200 in cash. I was totally flabbergasted, not expecting anything like this. They proceeded to tell me that this was my 'commission' for expediting their original request. I thanked them and we all went off about our business.
Fast forward to the next tour and on 7th May 1973, at the Hershey Arena in Hershey, Pa., the poster guys showed up again with the same request. I quite reasonably figured that since Terry had given his permission before it would be okay.
WRONG! (Right here I believe I might have averted the disaster by going to Terry again and making the request, which would have been in the negative – as I was about to find out – and gone back to the sellers with the news and I believe we might have been able to work something out up to and including repaying the $1,200. They probably went down the street a ways and sold the posters anyway.)
I told them okay and went backstage, shortly thereafter and before the show, Terry came steaming backstage and told me that he had ejected the poster guys and they had got very angry and blurted out that they had paid me that $1,200 which was a really dumb thing to do on their part because it achieved nothing in their favour to do that. Plus they knew that the first payment carried no arrangement for any further business. Terry then announced that I was fired as of immediately after the show and that I was to proceed directly to the hotel and catch the first flight out the next morning and I was not to attempt to speak to anybody in the outfit before leaving. Obviously it was Terry's opinion that the 'perk' was the group's property and not mine. Even so, I thought the situation could have been handled with a little more consideration for my feelings and position.
It turned out however, as I found out much later, that this was a perfect opportunity for Terry because he had re-organizational plans for the whole management structure which apparently did not include me.
Many years later, after I had moved to Atlanta in 1980, around 1996–7, I began flying home regularly each year in Feb/Mar to visit my older brother in Haywards Heath. I had remained in contact with former drummer Clive Bunker who lived in the Bedford area and we used to meet up at his house
and shoot the breeze. In 1999 I managed to hook up with Barrie Barlow who lived not too far from Clive in Henley-On-Thames. My wife and I spent an overnight with Barrie and had a real good catch-up time. It was then that Barrie told me the whole story about what happened after I left. I was replaced by three people because the job was divided up into three areas: 1. A personal roadie for Ian only 2. A Bookkeeping person and 3. A roadie for the rest of the group. Barrie told me that Ian was separated from the rest of the group, travelled separately and stayed in different hotels and the whole thing became very regimented and not much fun. Alan Mackenzie remained as advance 'set-up' guy.
So there it is, a sad tale of an ignominious ending to a great experience. I enjoyed my time with JT. I met a lot of great people, including my first wife! Leaving the band enabled me to get married in 1974 and emigrate to Miami and become a U.S. citizen.
In 1975 I went back to England to work for Gentle Giant who were switching management to – Terry Ellis. This only lasted a few frantic months and is a whole ‘nother story. . . .
I used to go to see the group if they were in Atlanta but that died away because the personnel changed to people I didn't know.
I now live happily and busily in Atlanta, Georgia.
What did/do you feel about Ian’s music?
I liked Ian's music very much. It was totally unique and made for entertaining listening. I liked Aqualung and Bouree. As we all know, there was a sea change with A Passion Play, and I didn't enjoy the following recordings very much although I should say that I have not listened to them extensively. I was really into Moody Blues, Yes, Supertramp, Genesis, CSNY, Chicago, etc.
Are you aware of any soundboard recordings made of any Tull shows by the crew during your time with them?
I am pretty sure there were no such recordings made of any Tull shows because it would not have been authorized and probably illegal. Ditto cine footage.
What are your thoughts on the changes in the rock touring business and its massive expansion?
I think the 'changes', as you describe them, might be better described as developments of a medium that has proved to be immensely popular and will therefore expand accordingly. I am impressed with the myriad variations of rock ' n' roll that have emerged, and still are [emerging], although that certainly doesn't mean I like them all.
Clive, Barrie and Eric. Henley-On Thames c2000
Footnote:
Eric has been an actor for the last 28 years and recently has mostly been doing audio books which are available on audible.com or amazon.
Just go to 'audio books' and punch his name in and you'll get the list.
Just in from Eric:
I recently appeared in a film made here in Atlanta called; 'Tyler Perry's Madea's Witness Protection'. It was a general release film over here because Mr. Perry has a huge following particlarly in the south and and he lives and works and has his studio in Atlanta.It co-stars Eugene Levy and includes a scene in a hotel where I play an unctuous, fawning, desk clerk. It is on DVD now.
(c) 2012: Eric Brooks, EMI Group Ltd & The Jethro Tull Forum
