25/05/2024
Melbourne-based writer George Davies writes the first instalment of Paul's 'Backstory'; providing some unique insights into the man behind the music.....
In our series exploring the release of “Backstories From a Soundtrack to Life”, it’s about time we turned our lens to that aforementioned backstory at the centre of this project. Over the next few weeks, we will be delving into the stories, influences and music, that have all melted together to influence Paul’s latest album.
And where better place to start, then at the beginning.
In 1981, Paul left sixth form college to embark on a tour of the U.S.A. with the cast and musicians of a rock opera called the Dracula Spectacular. Around the same time, back in his hometown of Leicester, Paul was wearing several hats as a drummer in three bands simultaneously. This comprised of gigging and rehearsing several times a week, whilst also at the formerly named Leicester Polytechnic. A memorable character during this
stage of Paul’s musical journey was Elle, a roadie and jack of all trades who most certainly added to his own street credibility.
Skipping ahead slightly, Paul reconnected with a mate from the rock opera tour. They had a formative conversation about whether Paul had the bottle to have a crack at full time music and commit to this by making the leap to London. In the end he was persuaded to head south by his friend, who’d himself already made the move. The summer of 1983 was spent answering “drummer wanted” adverts in Melody Maker. During this time, he met lots of bands and singers, but wasn’t very impressed. He’d come to the big city expecting to be out of his depth as the inexperienced musician from the midlands. Instead, he found that those he met lacked the skill and ambition that he possessed himself. As is the cliche, but so very often true, he was just about to give up on his search. Until he auditioned for a pop band in North London, who like him, were
focussed, accomplished and ambitious.
So, with his mind made up Paul handed in his notice at his job. He managed to get a flat-share above a hairdresser in West London and made his move permanent. The band then set about finding a keyboard player.
They met a chap, Patrick Cornfield, who had recently graduated from one of the London schools of music as a concert pianist. In an amusing first encounter, a rehearsal was arranged in a space the band had, which was located below a hairdressing salon. However, it transpired that Patrick had unfortunately lost all of his hair quite recently. Needless to say he found it all extremely amusing and laughter ensued throughout that initial meet up. This only cemented the new bands dynamic. He got the gig as the keyboard player, adopted his nickname Oscar and the band, November One, were away.
A phrase that will feature heavily in this series is ‘back in my day’, but Paul has assured me that for this piece it is apt. Therefore, we will let it slide, and so it goes. In those days, acts had to really graft.
Before getting anywhere in the industry, groups had to write some great songs, be able to perform live, and conduct themselves in a relatively professional manner. Not only that, but having
a manager with solid connections was also a handy thing to have on your side. All this, just to stand any chance of getting a record deal.
The band spent three years building up their collection of songs and demos. Gradually these grew in quality as they managed to blag some consistent time at several great studios in London.
For Paul at that time, a typical weekday would look a bit like this: He’d get up, spend the daylight hours at a temp job, get home, shovel in a quick bite to eat, jump on the tube over to whichever studio they’d got their hands on at that time, work on music and record songs from 10pm until 5am. To then get the first tube back home for a couple of hours sleep. Getting ready to do the whole thing again the next day. It certainly tested his hunger for success.
This story is not one that is exclusive to November One, either. Their contemporaries at the time were the likes of Bros, Mica Paris, Princess and Brother Beyond, just to name a few. All of whom did pretty well for themselves, but like November One, had to work hard to get their break.
Paul and the band also recognised that they had to constantly improve if they were any chance to make the jump up to becoming recording artists. By this time, circa 1986, they were rehearsing and writing several days a week and on their days off, Paul was putting himself through a rigorous drum practice schedule. Through an introduction by the band’s bass player Ronnie, Paul was fortunate enough to be tutored by a man named Johanne James. Johanne was an amazing drummer and to quote Paul, a “top bloke” too. Johanne gave him several tips and tricks which enabled him to progress further than he’d even thought of himself, when he’d first set out on this journey.
In another fortuitous introduction by Ronnie, Paul Met the guitarist and writer Glenn Nightingale (pictured), who would go on to become a major influence and a valuable mentor to him.
Glenn had enjoyed success in the Gap Band and also co-wrote the music for the Hollywood smash hit film, Beverley Hills Cop. Not only that, but during the time Paul was introduced to Glenn, he was working with an unsigned, up and coming band called Jamiroquai. As well as also playing in Joe Cockers band. As is well documented, Jamiroquai went on to major success.
However, that never caused an inflation of ego with Glenn. To Paul, the constants were Glenn’s passion for music, beer, ci******es and collaboration. Paul himself admits he got lucky when he was taken under Glenn’s wing for a period of time. They worked on a few tracks together including some involvement in a project called Scarlett Circus. Which involved a large collection of musicians and singers, including Boy George. Working with Glenn was a huge learning curve for Paul and he realised yet again, that he had a lot to learn!
