Martin Kinch: First of all Mel,
Many thanks for agreeing to do this interview for my website.
Melvyn Gale:No problem at all.
Martin: There isn't much about you on the internet and there
hasn't really been much news about you since you left ELO, is that through choice
Melvyn: Not really, it's just that I have
done a lot of other things that weren't under the same scrutiny as when I was
in the band.
Martin: Before we talk about your time with ELO, can you give
us a bit of history about yourself, where you grew up and went to school etc
Melvyn: Well I was born in London and I got
my classical music education at the Guildhall School of Music and the Royal Academy
Of Music where my peers included Dame Felicity Lott and Sir Simon Rattle, conductor
of the Berlin Philharmonic. I graduated with an LRAM in 1973.
Martin: When you left the Royal Academy of Music, did you go
straight into the music biz, or did you have any 'normal' jobs
Melvyn: No nothing "normal" I guess. My first
job was deputizing for another cellist at the London Palladium for a couple of
nights, which then became semi-permanent for a few months until I got too busy
to do it anymore. Playing along to Frankie Howard in the annual pantomime was
good fun but not what I really wanted long-term! Earlier, while I was still at
school, I used to play piano for a Dance School at Blackheath on Saturday mornings,
which was great for improving my improvisation (and pulling the older girls).....
I also played with the London Symphony Orchestra,
the Bolshoi Ballet, Ballet Rambert, Sadlers Wells Opera, in shows like Jesus Christ
Superstar, West Side Story and on many sessions including War of the Worlds and
with The Carpenters.
Martin: People know of you as a Cello player, As a teenager,
were you into pop music or did you prefer classical
Melvyn: Classical was and is my bedrock favourite
music, but not to the exclusion of rock or anything else, I have very eclectic
tastes. If it's good, it's good, whatever. I used to buy the Beatles piano music
and play it in our lunch breaks at school in the music room and others would sing
or play and join in. But the first record I bought was by the Stones.
Martin: Who were your favourite artists / composers
Melvyn: Composers....mainly the romantics
like Rachmaninoff, Tchaikovsky etc but I liked a challenge as well, so add Shostakovich,
Bartok and the like.
Artists....on cello Rostropovich (who had it all),
Jacqueline Dupree (for her intensity) and too many others to list.
Martin: So when and how did you start to learn playing the cello
Melvyn: When I was about 13 I was told that
the school orchestra needed another cellist and that I should get on and learn!
So I did and picked it up quickly.
Martin: Do you play any other instruments
Melvyn: I've played piano from age 5 and passed
grade 8 when I was about 14.
Martin: How did you get the job with ELO, was it advertised or
did they come looking for you
Melvyn: Hugh and I were friends from when
we were both about 18 and we sat together on the front desk of the cello section
in the London Youth Symphony Orchestra (see photo).
We also both went to the Guildhall
School of Music for a year. I think he stayed there and I moved on to the RAM
when I left school.
Hugh called me one day in 1972 and asked if I would
be interested in being in a rock band with him, but I was already so busy I said
no, but that I knew Mike Edwards was looking for some more work, so they contacted
him. Same thing happened again when Hugh left and I was asked again and I then
suggested Colin Walker. On the third time I was asked in 1975, I was told that
the band was doing a few English dates and a short Spanish tour and was then going
round the States for 6 weeks. I'd never been to the US, so this time I said yes!
Martin: Had you heard of the band before you were asked to join
Melvyn: I really knew very little about the
band or what to expect at all.
Martin: I take it you had to audition, Can you tell us a bit
about it, where it was, Who was there, what you played etc
Melvyn: Well I don't know you could call it
an audition. I just turned up at this scout hut in Birmingham where all the bands
equipment was set up, told where to sit and we started playing some of Jeff's
songs. No-one ever said "you'll do", I just got on with it. There is a picture
of this in Bev's ELO book.
Martin: Once you were given the job, can you remember what you
had to start work on, was it rehearsing for gigs or was it to record "Face the
music"
Melvyn: No, it was rehearsing for the upcoming
gigs. But before I went up to that hut, someone at Jet posted me some ELO LPs
with certain tracks marked on them as being ones I should try to work out a part
to play from. Hughie came down to my house in Lee, SE London and gave me some
clue as to what would work between us.
I used one of my own cellos for
this, but not for long. I had to go and buy a cello (as I wasn't going to keep
using my own antique one for rock!) that I could then take to bits in my garage
and reinvent as an electric cello. That was real suck it and see stuff. Adding
kapok stuffing inside to deaden feedback, wooden strengtheners down its length
to stop it breaking up when rammed into the stage floor. An electric bridge, volume
control and jack plug socket. An extra long spike made from stainless steel appropriated
from (I think) a drip stand from the local hospital.....(don't ask), and a can
of silver paint from Woolworths.
Martin: You must have been
really nervous turning up for that first rehearsal
Melvyn: Curious more like. Don't forget
I had been turning up to do classical concerts and sessions etc, usually without
knowing in advance what the programme was and usually with little rehearsal time
for quite a long time, so I was used to it. But I wasn't really ready for the
level of sound, it took some getting used to how loud it was.
Martin: Did you find everyone
in the band easy to get on with when you first joined
Melvyn: I think so, I don't really
remember, I was more preoccupied with sorting out the notes! Overall, the relationships
during the five years I had with the band were pretty good, although we all had
off days. Not surprising when you live in each others pockets for months at a
time.
Martin: Did Jeff tell you
exactly what he wanted you to play or were you able to make suggestions as to
what you thought would sound good
Melvyn: Hugh and I had already worked
out most of the awkward parts from the records but I think there were a few places
where Jeff suggested something else and we changed things so they worked better.
Melvyn with Hugh McDowell
Martin: Was it easy to change
from playing classical music to pop music
Melvyn: Most of what I actually played
was the orchestral side of the music, so no real difference there for me. It was
just when we played something like Mama-belle that it became a new way of playing,
more raw and raunchy. Of course the exploding cello I inherited would never have
happened anywhere else and it was fortunately soon consigned to the bin!
Martin: One of my favourite
ELO songs is 10538 overture, there's quite a lot of cello in that one, Did you
enjoy playing it
Melvyn: Yes, I always liked that one
and the earlier album tracks in general, perhaps better than the later songs.
I thought Eldorado was a brilliant album and Face the Music was pretty good too.
ELO - 10538 Overture / Do Ya
Martin: In the early years
of ELO there were problems with getting the strings to sound good on stage, is
that something that had been sorted out by the time you had joined.
Melvyn: It was always going to be
difficult to get the string sound right. Our so-called electric cellos were pretty
basic compared to what is available now. I could only hear what I was playing
from the speakers behind me plus a basic mix of sounds from the monitors at the
front of the stage. What the audience ended up hearing after it was all mixed
together at the sound desk I have no idea.
Martin: How long was it
from the time you started rehearsing to actually playing your first gig, and do
you remember the first gig you played with the band - Where was it/ How did it
go
Melvyn: Just a few days. I think (not
sure) that the first gig was at the Newcastle Polytechnic Valentines Day concert
and I remember thinking there were almost more people on stage than in the audience!
The first 5-6 gigs were rehearsals really for the upcoming US tour, I'm not sure
whether the audiences really got full value for money.
Martin: I was surprised
to hear that you didn't join the band the first couple of times you were asked
as most young lads dream of being in a group, once you started doing the gigs,
Did you enjoy being a 'Pop Star'
Melvyn: That wasn't my dream at all
and I never thought of myself as a pop star! Truth is that after the first short
UK and Spanish tours I very nearly quit as I wasn't enjoying it much either musically
or in the coaches and vans travelling between gigs. It was just the chance to
go to the USA and also, that I had agreed at the start to do all three tours,
that stopped me leaving and going back to classical music.
Martin: Did you start to
get recognised in the street
Melvyn: No! Hardly ever. I sat in
the audiences a few times during the warm-up acts and no-one sussed. The only
time I got recognized was leaving gigs to go back to the hotel.
Martin: What did you family
and friends think about it all.
Melvyn: My parents had no real idea
what I was doing. They thought I was part of a backing orchestra for the group.
It was only at the charity Wembley show in 1978 that they suddenly twigged. I
arranged for a limo to collect them from Beckenham and take them up and back and
I introduced my mum to Tony Curtis (she was a big fan of his), then it sank in.
My friends thought it was great and came to some of the UK gigs.
Martin: When the band were
recording the albums, were you in the studio with them all the time or only to
go in and record your own parts
Melvyn: Mostly just to record our
own parts. It would have been pretty boring sitting around the whole time with
nothing to do.
Martin: Evil Woman would
have been your first single - can you remember what the first TV show was that
you did
Melvyn: No. Possibly Top of the Pops?
I was in love with Cherry Gillespie from Pans People (she never knew of course!).
Martin: Did you do much
live TV or was it mostly mimed
Melvyn: Mostly mimed to a backing
track with some live vocals over the existing ones.
Martin: There's a great
clip on Youtube of ELO doing 'Evil Woman' and Hugh is sitting right under a load
of smoke and the band are all laughing, it almost looks deliberate, I'm surprised
they didn't stop the recording - I think the programme was called Supersonic,
Do you remember it.
Melvyn: How could I forget it. I think
Mike Mansfield was the director and he always went overboard on effects and this
particular time the dry ice smoke just got out of hand......but the show must
go on, as they say
ELO perform Evil Woman on ITVs Supersonic
Martin: You recorded three
albums with ELO - Face The Music - A New World Record, and Out Of The Blue, which
would you say is your favourite ELO album
Melvyn: Eldorado is my favourite,
but of those three, I don't think I can pick one above another.
Martin: Do you have any
particular favourite tracks from your time with the band (recording and playing
live)
Melvyn: Now?...not really, except
Wild West Hero, just because I got to play piano! It was a long time ago and it
is all just a pleasant haze of memories....none bad, but some really great ones
too.
Martin: ELO had become massive
by the time of 'Out of the blue. When you joined the band did you ever think that
they would become as big as they did
Melvyn: No, never! But the strange
thing is that as the venues and crowds got bigger, from the stage, due to lights
in your face, you mostly only saw the first 20-30 rows of people, no matter what
the size. It was only before gigs or after when the lights went up that you saw
this huge sea of faces. The size of the album sales brought us more & more gold
records and media attention etc, but, except for Jeff & Bev, Don Arden made sure
the rest of us didn't see a proportionate increase in money, that's for sure!
Mik Kaminski - Hugh McDowell - Melvyn Gale - Jeff Lynne - Richard Tandy -
Kelly Groucutt - Bev Bevan
Martin: The Out of the blue
spaceship tour must have been very exciting, You must have loads of memories but
is there anything that sticks out in you mind about these shows
Melvyn: One of the nights at Wembley
in 78, someone forgot to release the safety clamps on the risers that slowly lifted
us up to stage level at the start of the show as the spaceship lifted off. So
we were playing away, below ground so to speak, surrounded by smoke and ended
up chucking the cellos up onto the stage and climbing up the scaffolding after
them. Anyway, slowly everyone else appeared as the risers were hurriedly let loose,
but we were halfway through the first song. Don't know if anyone noticed!
I also thought flying in and out of an open air festival by helicopter in
the US over this huge expanse of crowd and tents was an eye-opener...fantastic.
When we played Madison Square Gardens, our security was provided by a lot of guys
in long black coats, friends of friends of (the) Don, I guess!
Martin: At the time I seem
to remember ELO getting some stick for using backing tapes on this tour, but I
think the tapes were meant to be for the band to hear but they got put up a bit
too loud in the mix.
Melvyn: I think Jeff was frustrated
that the live shows didn't sound like the studio recordings, which of course they
never could, so he wanted to add back in that depth and complexity by using a
mix of backing tapes. Just how much this worked or got over-cooked at gigs I couldn't
tell though. It sparked plenty of discussion!
Martin: One of the Wembley
night gigs was recently re released on DVD with the correct sound and it sounds
great, Do you ever watch any of the old concerts or have a look and see what is
on Youtube
Melvyn: I've got a DVD of the Wembley
concert but I haven't watched it in years. But I have seen a few more of the videos
on YouTube recently, some of which are great reminders.
ELO - Mr Blue Sky - Live at Wembley
Martin: Did you ever
do your own solo spot in the live gigs - if so what was it
Melvyn: No I never did, that was always
Hugh's thing since day one and I really wasn't fussed that it stayed that way.
Martin: There's a nice clip
on Youtube of you in ELO performing 'Can't get it out of my head' from Eldorado
it looks like a promo film for the single was that released after you joined,
because it's Mike Edwards on the album isn't it
Melvyn: Yes, I just played it at shows
and on this promo video, which again was at the Scout Hut where we rehearsed in
my first week with the band.
ELO - Can't Get It Out Of My Head
Martin: By the time of the
Discovery album the string players had disappeared from the credits although you
are still featured on the promo videos, What was going on there
Melvyn: Jeff had said he didn't want
to tour again for a couple of years and I guess the whole shape of the band was
changing with that album but the new ELO image wasn't formed yet, so the old ELO
did the promo videos. It was the last time we were all together.
Martin: So was there an
actual time when you were told that you were not needed any more for recording
and were only required for gigs and TV etc
Melvyn: After the Discovery promo
recordings, I received a short formal letter by post in Jan '80 (?) informing
me that my services were no longer required. No phone calls, nothing else.
Martin: How did you feel
about that
Melvyn: After nearly five years of
working together, I'd rather not comment.
Martin: Were you doing other
work while you were in the band
Melvyn: Bits and pieces locally when
I was in the UK, but nothing much.
Martin: Was it a shock to be
looking for work again after the previous few years
Melvyn: It was hard to get back into
my London freelance work as I had been away for so long. It was the beginning
of the recession, so there was less work around and the people who had been doing
it (while I hadn't) managed to hang on.
Martin: Did you still follow
ELOs career once you had left
Melvyn: No, I always looked forwards,
not back. I had a life to get back on track and ELO was no longer a part of it.
Martin: You actually recorded
an album with Frank Wilson for Jet Records Did you start that while you were in
the band or after you had left. Tell us you memories about working on that album
Melvyn: It was after I left and was
looking for work that Sharon Arden called me in and said that Jet would put up
the money for a solo album. I had been doing some stuff with Frank, so that was
the obvious way to go. We used the money to record at Ramport in Battersea for
six weeks and had enough left for Frank, myself and Will Reid-Dick (our engineer)
to fly out and mix it in Crystal in L.A. I had a small rented apartment just off
Sunset and we all stayed there for three weeks.
Martin: Did you enjoy recording
that as much as recording with ELO
Melvyn: Much more, because it was
our material, recorded our way (for better or worse) and we had total freedom.
Martin: And some of the
tracks were written by yourself, something that band members weren't allowed to
do when in ELO
Melvyn: Yes, the only writer for ELO
was only ever going to be Jeff, it was his band.
Martin: Did you enjoy writing
your own material, Is it an easy thing to do
Melvyn: I didn't find it particularly
easy, although it was satisfying once you could hear the end result, but I had
never done it before so just did what I thought worked.
Martin: There was a single
released as well 'I Wanna stay' I don't really remember hearing it on the radio
or TV, were you disappointed that it didn't chart - Mik had had success with Violinski
and Clog Dance
Melvyn: It was Terry Wogan's record
of the week (kiss of death really!) and we had an interview on Capital Radio,
but that was about the extent of it. It wasn't a strong or catchy enough track
to chart.
I Wanna Stay by Wilson Gale and Co
Martin: Did Wilson Gale
do any live gigs at all
Melvyn: Nope, not as Wilson Gale and
Co, but we did play some of the tracks with the Risky Zips boys down at the Green
Man in the Old Kent Road.
Martin: Since all that finished,
have you been in any other bands at all
Melvyn: No, that was it. I was a bit
disillusioned, gave up playing and went into business instead. I got married and
started a family and had to support them.
Martin: Is it true that
you started you own record manufacturing plant or did it start off with you working
for someone else
Melvyn: First I got a job as Sales
Manager with the Pinnacle Entertainment Group working for Steve Mason, who had
been selling ELO belt buckles and memorabilia at a stall at the Wembley concerts!
He had done well since then and had a metal label called Music for Nations which
was distributed by Pinnacle, which he then bought and I joined him. After
two years its turnover had increased from £2.5m pa to £12m pa and he offered me
the job of running one of his other Group companies, a record pressing plant called
Audio Services Ltd (ASL). I ran it for 19 years. I had 50 staff, turning out between
6 - 8 million records a year. Among others I worked with Tony Wilson at Factory
Records (New Order, Joy Division, Happy Mondays etc). At one point Pete Waterman
bought a 50% stake in it, although I hardly ever saw him, so ASL pressed all the
Kylie and Jason releases. Then Jive Zomba bought in (Backstreet Boys etc), then
BMG, then Sony BMG etc! We went on to do cassettes, then CDs and print and packaging
as well. Eventually we lost the lease on the factory building which was to be
redeveloped and all the machinery was sold to Optimal Media in Germany. I joined
them as director for their new UK operation, feeding work out to them in Germany.
Martin: Not quite as exciting
as being in a supergroup, but was it something that you were interested in and
enjoyed doing
Melvyn: I had a very varied and interesting
time at ASL. I was my own boss so had a lot of freedom, I enjoyed the challenges
and perks of the music business from a different perspective to being a player
and got paid well. I have no regrets at all.
Martin: So is that what
you have been doing ever since you left the band
Melvyn: Pretty much.
Martin: And is it true that
your company actually pressed some ELO vinyl in 2006
Melvyn: Yes, we pressed a blue vinyl
single of an unheard ELO song called "Surrender"
Martin: Do you still produce
much vinyl now, Is there much demand
Melvyn: There is, but I don't. Due
to the unfavourable change in the pound/euro exchange rate in 2008/9, it made
optimal uncompetitive on price so we closed the UK operation in April this year.
So I enjoyed this summer off feeding the chickens at our barn in Kent! I'm now
buying and selling flats to make a crust and plan to start doing some cello &
piano teaching in 2010. I got divorced early in 2008, but have had my lovely
new partner Sally since late 2006. Of course I still have my three children and
two grandchildren as well.
Martin: Do you still have
a cello and do you play it, or any other instrument.
Melvyn: I still have both my ELO cellos.
The silver one is in a bit of a state and needs some TLC, the red/black one I
converted back to being a normal acoustic cello (stripped and revarnished) although
it doesn't play that well. I'm looking for a nice antique one to buy at the moment.
Sally and I also bought a beautiful 1930's Bluthner baby grand recently and I
play that a lot.
Martin: So what sort of
music do you listen to these days
Melvyn: Everything and anything as
ever, depending on my mood.
Martin: After ELO, Jeff
went on to be a very successful producer for other artists such as George Harrison,
Tom Petty, Roy Orbison and many others, even The Beatles. Were you surprised at
how much he actually went on to do
Melvyn: No, he was a talented guy
in the studio.
Martin: Then there was The
Traveling Wilburys - Did you like them
Melvyn: Sure.
Martin: There's no denying
that he is a fantastic musician/writer/producer, Would you call yourself a Jeff
Lynne fan
Melvyn: I'm not a "fan" of any particular
person, but I can appreciate talent.
Martin: Once a band splits
up, some groups carry on without the lead singer What did you think about the
idea of ELO Part 2 (Later to become The Orchestra) without Jeff Lynne
Melvyn: I thought it was a great idea
that the people who had put so much into the band could carry on with what the
fans wanted and make a living at it. I thought it was churlish of Jeff to stop
them using the name, but that's life.
Martin: You actually went
to see them didn't you
Melvyn: Twice, and I am so pleased
that I had the chance to catch up with Mik and especially Kelly before he died.
That was a real shock.
Martin: What did you think
Melvyn: They were superb and the audience
agreed with me!
Martin: Did it make you
wish you were up there with them. Would you have got involved if you'd have been
asked
Melvyn: You feel a little tug that
says you could do this still, but, and it's a big but, I wouldn't have swapped
what I did since leaving the band.
Martin: It must have felt
strange hearing some of those songs again but without Jeff Lynne singing
Melvyn: Not at all strange. Frankly
the blend of Kelly and Phil's voices worked so well that I didn't even give that
a thought.
Martin: How was it meeting
up with Kelly and Mik again
Melvyn: Well I hadn't seen them since
I left the band so it was great to catch up, but they were just the same characters
as 30 years ago.....amazing. Mind you there were a few more wrinkles and less
hair in Kelly's case!
Martin: You mentioned that
you were glad that you caught up with Kelly again before he died in 2009, was
he a good mate of yours during your time in the band.
Melvyn: Yes, but we were a collection
of mates, we had to all get on. I had some great times with him sailing in "Kelpie"
off Newport Harbour and at Malibu Grand Prix (mini race cars) and just hanging
out generally.
Martin: Any favourite stories,
memories of him
Melvyn: He was always the joker and
clown (in the best sense), nothing seemed to get him down and he helped make our
sometimes gruelling tours more bearable.
Martin: What was the best
thing about being in ELO
Melvyn: Travelling the world. I have
been fortunate to see more parts of the world than most and loved all of that.
I've continued to travel ever since when possible.
Martin: Anything you didn't
like
Melvyn: I missed home cooking. I got
to hate hotel and gig food so much that the last time I came home off tour I couldn't
face going out to a restaurant for months when I knew I could have eaten at home!
Martin: Favourite memory
Melvyn: I'm going to cop-out on this
one, there were so many great times that I just don't know, but Wembley has to
be up near the top as all my friends and family were there.
Martin: A question that
someone asked me to ask you - Are you and Hugh actually playing cello on the albums
- I always assumed that you were, I know not all tracks feature cello but others
had quite a lot didn't they, Can you remember what tracks you are on most and
did you and Hugh have equal share of playing
Melvyn: Of course we are. We went
and recorded in the studios in bits and pieces, but what found its' way through
to the final blended mix is another matter I guess? I can certainly pick out sections
on all the albums I was involved with.
Martin: Well many thanks
Mel for doing this interview for me, I'm sure that there are many ELO fans all
over the world that will enjoy finding out a bit more about you
