{"id":188822,"date":"2016-07-11T19:12:10","date_gmt":"2016-07-11T19:12:10","guid":{"rendered":"https:\/\/siteproxy.ruqli.workers.dev:443\/http\/recordcollectormag.com\/articles\/principal-pleasure"},"modified":"2020-05-21T10:28:34","modified_gmt":"2020-05-21T10:28:34","slug":"principal-pleasure","status":"publish","type":"post","link":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/principal-pleasure","title":{"rendered":"The Principal Pleasure"},"content":{"rendered":"

P<\/span><\/strong>rincipal Edwards Magic Theatre cut a compellingly original swathe through a late-60s music scene seemingly inhabited by wall-to-wall blues bands. They were much-appreciated by John Peel, who witnessed their first-ever gig, at Portsmouth\u2019s Guildhall on 27 May 1968, signed them up and issued a single and two albums on his similarly fledgling Dandelion label. Pink Floyd drummer Nick Mason produced the second set, adding yet another layer of hip approval. <\/b><\/p>\n

One more LP, also produced by Mason, followed on Deram before they split in 1974, but the release in 2008 of work-in-progress tapes and an impressive website \u2013 not to mention the recent unearthing of rare live film footage \u2013 has ensured they have remained in the thoughts of those in the know. They were sometimes compared to the likes of Pink Floyd, The Incredible String Band, Hawkwind and Amon D\u00fc\u00fcl, with one critic characterising their music as \u201clots of shifting time signatures, non- Western scales, an astonishing variety of moods and tonalities and some serious musical chops.\u201d<\/p>\n

There\u2019s no doubting the Peel connection helped spread the Principal Edwards name. \u201cI guess he liked what he heard,\u201d says guitarist and chief writer Root Cartwright, \u201cand his early support and encouragement were unstintingly generous, facilitating and greatly appreciated.\u201d<\/p>\n

The debut gig at which Peel first cast eyes on Principal Edwards Magic Theatre was billed as the Dance Of Words and featured Free, Fairport Convention, Tyrannosaurus Rex, Pete Brown, King Ida\u2019s Watch Chain and, incongruously, British blues legend Alexis Korner. The band shared his management team for a while, which led to their first album bearing the (misleading) legend \u201cAn Alexis Korner production\u201d.<\/p>\n

The original line-up included musicians Belinda Bourquin (violin, keyboards, recorder), David Jones (vocals, percussion), Jeremy Ensor (bass), Martin Stellman (vocals and recitation), Lyn Edwards (drums, later replaced by Roger Swallow) and Vivienne McAuliffe (vocals). Gillian Hadley, John Hill, Eva Darlow and Monica Nettles were dancers, while others took care of projection, props and effects.<\/p>\n

Principal Edwards were perceived as a \u201cstudent band\u201d, playing many gigs in student unions to large and appreciative audiences. Indeed, the core members met at Exeter University, where they staged a series of summer 1968 gigs. They also made a July appearance on BBC Radio 1\u2019s Night Ride <\/i>show, hosted by Peel, while regular London gigs were scheduled at the Arts Lab in Drury Lane.<\/p>\n

They would soon quit their studies to live in a large farmhouse in Kettering, Northamptonshire \u2013 but this, Cartwright stresses, was \u201cpurely pragmatic \u2013 it was a band, not a community\u201d. The name came from an ancestor of first album drummer Lyn Edwards \u2013 \u201csome sort of high-profile Welsh God-botherer in the 19th Century… no religious overtones, we just thought the name sounded neat\u201d. The Magic Theatre suffix was borrowed from poet-novelist Hermann Hesse\u2019s Steppenwolf<\/i>.<\/p>\n

For Cartwright, the biggest attraction was the band\u2019s eclecticism. \u201cBy the time I left school I had played pop music, contemporary and traditional folk, bungled my way through some jazz changes, sung madrigals, composed pieces for classical guitar, listened with eager ears to everything from Villa-Lobos to Django to Bach to Julian Bream\u2019s Consort Of Lutes, and with sheer tremulous disbelief to Charlie Parker. It was exciting to find the\u00a0opportunity to incorporate some of all that.\u201d<\/p>\n

Three important gigs happened towards the end of 1968. The first, at Bristol University\u2019s Victoria Rooms on 20 September, found them opening for Pink Floyd, a band with which they had a kinship that extended beyond occupying the \u201cP\u201d divider in the record racks. Exactly a week later they shared a London stage with influential US art-rockers The Fugs, while a week before Christmas they graced the Royal Albert Hall as part of a show called The Alchemical Wedding<\/i>.<\/p>\n

Though John Lennon and Yoko Ono\u2019s appearance on stage in a bag memorably cut their set short, they\u2019d be back there in January at John Peel\u2019s behest with a rockier bill of Family, Georgie Fame and Ten Years After. Other bands Principal Edwards shared bills with in 1969 included Pink Floyd (again), Led Zeppelin (at the Bath Festival) and The Who at London\u2019s Roundhouse.<\/p>\n

A single, Ballad (Of The Big Girl Now And A Mere Boy)\/Lament For The Earth, was released in July 1969 from the musicians\u2019 first-ever time in a studio. Root professed himself \u201cquite pleased\u201d with the guitar solo on Lament. He felt they were being evaluated by their label \u201cto see if we could manage to get anything down without wrecking the studio or dissolving into a symposium on yoghurt weaving, before committing resources to an album\u201d.<\/p>\n

Indications must have been positive, as Dandelion\u2019s third single release was quickly followed by sessions for an album, personally overseen by Peel. The chosen title, Soundtrack<\/i>, was nothing to do with the movies, merely reflecting the fact that it was difficult to record a multi-media group, so this was only one facet of their act. Most songs were written by Cartwright, with help from group members, most notably David Jones. Bill Leatherbarrow, an Exeter contemporary, was involved early on. And another William \u2013 Shakespeare \u2013 got a credit for Third Sonnet To Sundry Notes Of Music. How did the Bard get involved? \u201cOur people took a call from his people…\u201d<\/p>\n

Soundtrack <\/i>hit the high street in August 1969. \u201cOn the very rare occasions when I have listened to that stuff in recent years,\u201d Root reflects, \u201cI am reminded of a lot of marvellous compositional and arrangement ideas which I\u2019m still proud to have written.\u201d<\/p>\n

Violin-player Belinda \u2018Bindy\u2019 Bourquin adds: \u201cThere are some elements that I like and some I hate, but I am reminded of the huge amount of committed work, arrangement and rehearsal that went into them.\u201d<\/p>\n

The Incredible String Band and The Fugs drew comparisons in reviews, while Pete Frame of ZigZag <\/i>heard similarities between album opener Enigmatic Insomniac Machine and Country Joe & The Fish. The band had only two days to put the music together, and while Don Quixote pushed its luck at 13 minutes in length, the result, to quote Frame again, was \u201cbrimming with invention: time changes, unusual chord progressions, interesting lyrics\u2026 It ranges from simple acoustic picking embroidering a single voice to romping, striding rock centred round Root\u2019s full, fat chords.\u201d<\/p>\n

Such was Principal Edwards\u2019 live reputation that many contemporary outfits were reluctant to go on stage after them \u2013 not only because of their impact but also an element of humour. \u201cI think they all thought they were more serious than us,\u201d says Belinda. \u201cWe did eventually break out of that; our music became heavier and more rocky, though we kept some tongue-in-cheek stuff. We played loads of clubs and town halls as well as universities, and mostly went down well.\u201d<\/p>\n

The band\u2019s decision to move to the Kettering farmhouse between albums provided them, in Root\u2019s words, with the ability to \u201ccontain living costs, (have a) convenient touring base and a permanent rehearsal facility\u201d. They were emphatically not, however, hippies, as has been suggested. And while it was an era when mind-expanding substances were de rigueur for performers and audiences, PEMT were \u201cdefinitely not a druggie band\u201d, says Root, adding: \u201cWe couldn\u2019t afford so much as a half of mild on our wages!\u201d<\/p>\n

The move also meant taking things even more seriously says Belinda, who describes their existence there as encompassing \u201cextensive touring and 24-hour commitment\u201d. It also, she explains, sowed the seeds of their second album\u2019s environmental theme. \u201cWe \u2013 especially David and Martin \u2013 were concerned about all the building work going on in the valley in front of the farmhouse. First of all there was a factory; I visited the area two years ago and there\u2019s now a huge housing estate through which you have to weave. The house is still standing in its idyllic setting, however, with cows and ponies in the fields \u2013 only it\u2019s now occupied by osteopaths and physiotherapists!\u201d<\/p>\n

At one point, the number living in the Kettering farmhouse approached 20, including road crew, so David Jones (band \u201ctreasurer\u201d at the time) had an office from which he doled out allowances for tights, cigarettes and the like. \u201cThe whole outfit,\u201d says Belinda, \u201cwas highly organised and very busy, rather dispelling the popular vision of us frolicking around in the fields\u2026 In fact I think I do more of that now than I did then!\u201d<\/p>\n

Pink Floyd\u2019s Mason enrolled to produce a second album, released in January 1971. \u201cWe met on the road,\u201d says Root. \u201cWe thought a chap with his studio experience would be a good person to ask\u2026 and were surprised and honoured that he agreed.\u201d<\/p>\n

The album\u2019s obscure title, The Asmoto Running Band<\/i>, stemmed from a band in-joke when an over-officious roadie put up\u00a0<\/b>a notice listing the requirements (such as \u201cget out of bed and into the bus on time\u201d) for \u201cA Smooth Running Band\u201d. \u201cHis handwriting was a bit wobbly,\u201d Cartwright explains. \u201cWhat we read as \u2018Asmoto Running Band\u2019 conjured up a noble tribe chasing through the forest!\u201d The first side of the vinyl disc was \u201ca green concept album \u2013 in a tongue-in-cheek sort of way…\u201d<\/p>\n

Nick Mason\u2019s influence had clearly focused the band musically; no song extended beyond a mere seven minutes, and dancers Gillian Hadley and Monica Nettles were unexpected contributors of material. Autumn Lady Dancing Song gave The Incredible String Band a run for their money, while opener McAlpine\u2019s Dream was a piano-based psychedelic classic that had a Canterbury feel.<\/p>\n

The group effectively split in December 1971, thanks to \u201cserious tensions between fringe theatre and rock priority, together with business hassles\u201d. But it wasn\u2019t the end. Nick Pallett (guitar, vocals), Richard Jones (bass) and Geoff Nicholls (drums) joined the core trio of Jones, Cartwright and Bourquin in 1972 and a new chapter was underway.<\/p>\n

Over the next three years they\u2019d put on three complete stage musicals \u2013 King Of Changes<\/i>, Stone Age Sam <\/i>and The Glass White Gangster <\/i>\u2013 throughout the UK. They also attracted high-powered management in the shape of Miles Copeland, who was later to steer The Police to megastardom.<\/p>\n

A support slot to the fast-rising Roxy Music at Leeds\u2019 Queens Hall in October 1973 suggested there was life in Principal Edwards yet. New Musical Express<\/i>\u2019 Bob Edmands approved of them dropping what he termed the \u201cobscure amateur dramatics. Lead guitarist Root and fiddler Bindy Bourquin,\u201d he continued, \u201chave a nice metallic edge which must have surprised adherents of the old Magic Theatre. The band have maintained their sense of stagecraft, whilst adding musical meat to the proceedings. One purely theatrical sequence, The Whizzmore Kid, consequently impressed more than an entire set would have.\u201d<\/p>\n

By the time Principal Edwards (note the shortened name) had released a third album, Round One<\/i>, on Decca\u2019s progressive Deram label in 1974, much had changed. \u201cIt was a new band,\u201d says Root, \u201calbeit with some continuity of thinking with the previous version. So shortening the name while retaining the brand seemed the obvious way of flagging up the difference while making it easier to get work.\u201d<\/p>\n

Round One <\/i>was again produced by Nick Mason and was reviewed as \u201ca bit rockier and more solid as a performance, but still characterised by a similar musical eclecticism.\u201d Sadly its lack of commercial impact hastened the end, despite the arrival of future Al Stewart accompanist Peter White.<\/p>\n

As Root Cartwright now reflects: \u201cThere comes a point when your original creative motivation collapses under the hassles of survival, financial problems, finding a conducive business support system and all that, and it\u2019s time to hang up your boots. In one form or another we spent seven years on the road, entertained hundreds of thousands of people and gained a marvellous education in the ways of the world and the business. There are worse ways to spend your 20s.\u201d<\/p>\n

Belinda Bourquin, equally, was \u201creally pleased to have spent my formative years in that band\u201d. She adds: \u201cI\u2019ve never regretted any of it, although it was very difficult to shake it all off for quite a few years and we had to make a real effort to stop talking about it because people kept insisting on bringing it up at the dinner table!\u201d She married bassist\/keyboard-player Richard Jones, who had arrived from the Climax Blues Band and would return to them after Principal Edwards\u2019 final curtain. Belinda now teaches piano, keyboard skills and music theory to adults. Her violin stayed in its case in the attic for more than 30 years, but she retrieved it \u201cwhen I heard some Swedish fiddle music and transcribed some tunes, with the result that I\u2019ve been avidly\u00a0playing Scandinavian and French modern folk music ever since\u201d.<\/p>\n

As for her former bandmates: \u201cMartin worked in films, Monica worked for PRS (the Performing Rights Society) and then in other high-powered positions, Lyn has had various drumming and teaching jobs, and David has a publishing company.\u201d Jeremy Ensor became a sound engineer\/producer, while Vivienne McAuliffe (who later joined Affinity) and John Hill are, sadly, no longer with us. Root Cartwright set up a gardening business and has also had a long involvement with photography, exhibiting in art galleries around the country. He also resumed writing and playing music: \u201cAcoustic, solo, back to where I was before all this started.\u201d<\/p>\n

Like many acts on Dandelion, John Peel\u2019s involvement proved a double-edged sword. The DJ\u2019s approval and patronage were positives, but he could not be seen to be \u201cplaying favourites\u201d. His producer, the late John Walters, said he \u201ccould see why John had taken an interest, in that they were unusual; it was a mixed media group, and at that time it seemed a good idea to explore it as an avenue that might happen… a big group, incorporating all kinds of arty-farty nonsense.\u201d<\/p>\n

Walters booked them for an initial session but explained: \u201cI was pretty disappointed\u2026 I didn\u2019t feel it really had anything, so it was a good 18 months or more before I booked them again, on the grounds that they had supposedly got themselves together. I found that the instrumental side had improved, but their pretentiousness had become, if anything, worse, to my mind \u2013 though it\u2019s obviously a personal thing.\u201d Indeed, Mr Walters.<\/p>\n

Fans, band members and the uncommitted were given an unexpected opportunity to make their own evaluation in 2014 when some film footage dating from December 1969, four months after the release of Soundtrack<\/i>, surfaced on YouTube. It emanated from French television, for which the band were billed as Le Th\u00e9atre Magique de Monsieur \u00c9douard, and was titled Un Op\u00e9ra Pop<\/i>. Do see it; 10 and-a-half minutes has rarely been better spent.<\/p>\n

It combined amazing live performance footage with documentary clips of loading and unloading their Transit van, the purchase of which was Dandelion\u2019s most tangible contribution to the band\u2019s career. Original bassist Jeremy Ensor admitted: \u201cI remember recording this but have never, ever seen it. I thought it was gone for good. My life flashed before my eyes watching this!\u201d<\/p>\n

This unexpected bonus followed on the heels of another treat, The Devon Tapes<\/i>, which was recorded in summer 1974 \u2013 just before Principal Edwards broke up \u2013 and was issued in 2008 by Cherry Red.<\/p>\n

\u201cThese show that we had developed a lot over the seven-year life of the band,\u201d Belinda explained as the members reconvened to talk through the release in an entertaining podcast (which can be accessed via their website, www.principaledwards.com).<\/p>\n

Principal Edwards made little mark overseas. Soundtrack <\/i>was released in the US on Elektra in 1970, while Round One <\/i>received a belated Japanese CD release in 2005. The 70s saw the band play a handful of gigs, notably the Aachen Open Air Pop Festival in July 1970 with Free, Golden Earring and Spencer Davis, and then little else other than a brief Irish tour \u2013 with, of all people, Thin Lizzy. The logistics and economics of such a large group were, presumably, prohibitive.<\/p>\n

If the name has ever had you scratching your head for its Peel connection, or your taste is eclectic, time spent investigating the music of Principal Edwards Magic Theatre is unlikely to be wasted. Curtain up.<\/p>\n

\n

PEEL AND THE PRINCIPALS<\/strong><\/p>\n

In John Peel\u2019s official autobiography Margrave Of The Marshes <\/i>(posthumously completed by his family), Sheila Ravenscroft mentioned that she and Peel had had Principal Edwards stay with them at their home in London, but had been annoyed at the group taking advantage of their hospitality and offering little in return. (\u201cThey were rarefied rock stars. They were above such things as laundry.\u201d)<\/p>\n

The group were the only one over which he and business partner Clive Selwood fell out. Selwood (Dandelion\u2019s co-founder) considered them \u201cthe most pretentious act I have ever come across\u201d, while wife Shurley (sic) recalled them \u201cliving in John\u2019s flat for a long time, eating him out of house and home. Sheila [Peel\u2019s wife] was cleaning up after them\u201d.<\/p>\n

\u201cIt would be nice, perhaps, to talk of Principal Edwards Magic Theatre \u2013 a large group of gentle people who would seem to represent what is coming in the boundless universe of music. It is not easy to say exactly how many there are because tonight, or tomorrow, you may be part of Principal Edwards.\u201d <\/b><\/p>\n

John Peel \u2013 Disc & Music Echo<\/i>, 1969 <\/b><\/p>\n

\u201cWhat they do to the inner Peel is the same as The Misunderstood, Captain Beefheart and Tyrannosaurus Rex have done on other occasions. There is the feeling of a strange warmth that touches all parts of me, feels like cool, soft hair drawn infinitely slowly across the back\u2026 They have equipment problems sometimes but the important thing is that Principal Edwards Magic Theatre IS and that they will, sooner or later, bring some colour into your life. Believe me \u2013 and I say that objectively even though I love them all very much \u2013 and am still a little afraid of them, too.\u201d International Times 53, March 1969 <\/i><\/p>\n

\n

NICK MASON<\/strong><\/p>\n

The Pink Floyd drummer talks to RC about Principal Edwards<\/p>\n

How did you first get involved?<\/p>\n

I think we met the group originally when they were still students at Exeter. They probably supported us. I seem to remember in those happy days that we were in the Transit van and probably stayed over with them that night. It\u2019s a memory I have. So I\u2019d met them working like that. I was approached by Nick Blackburn. They were on Decca, weren\u2019t they? I\u2019m fairly certain it was Nick Blackburn [then Decca\u2019s A&R man, now chairman of Eventim UK] that got me involved.<\/p>\n

How difficult was it to record a multi-media group?<\/p>\n

The problem was the one we were facing at the time. You\u2019ve got to forget about the multi-media element and just make the best record you can. In some ways there were elements in that respect that were very close to what we (Pink Floyd) were doing. We recorded at CTS, which was a very nice studio where we did a lot of film work. My memory of the recording was that I really enjoyed it. I must have done to some extent because I did two of them! The band must have been happy with it\u2026 one never knows \u2013 it\u2019s years later when they say, \u201cOh God\u2026\u201d<\/p>\n

Where did the music come from?<\/p>\n

Primarily from Root, but I think it was a classic 60s band to that extent: everybody was entitled to contribute. They all respected Root as the major musical influence, but my memory of it was that everybody was interested and it was as though there were two people who made the record and the others wandered in and out. Halcyon days, in a way.<\/p>\n

Was there a concept?<\/p>\n

There was inevitably a lot of discussion about what it was, what it consisted of and what it was meant to be. I\u2019d be struggling now to remember. I have not sat down and listened to it for a long time. It would be interesting to hear it again.<\/p>\n

What were they like live?<\/p>\n

I cannot remember much at all of what they specifically did. I must have thought they were competent because there wouldn\u2019t have been much point going into the studio. And they\u2019d got a record deal, which was the significant thing. That was indicative of the fact that there was something there. I just remember enjoying working with them. There was this enthusiasm to go on and do the second one as well.<\/p>\n

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Principal Edwards Magic Theatre cut a compellingly original swathe through a late-60s music scene seemingly inhabited by wall-to-wall blues bands. 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