THE WILF GIBSON INTERVIEW
By Martin Kinch
October 2003
MK: Wilf, It's good to
meet you after all this time, and thanks for doing this interview for my web site
WG: It’s a pleasure Martin MK: Now I must admit that
I only got to know of you when you joined The Electric Light Orchestra, Can you
tell us a bit about your life before then? WG: I Started
playing the violin at school at the age of 7, I hated it but my father gave me
a lot of encouragement and by the age of 13 I started to like and be obsessed
with the violin. I won a scholarship to the RCM in London then played in various
orchestras including 2 years in Holland, I then came back to England and gradually
broke into session work, I also Played in a jazz-rock group called Centipede MK: So how did you end up in ELO? WG: Don Arden rang me - I think they’d tried out
other people before. A player called Robin Williams told me later that he had
given them my name MK: Were you aware of the
band before you joined? WG: Only by name, but up to then I hadn’t heard any
recordings MK: Did you know that the
band had evolved from The Move? WG: Yes MK: What did you think
of The Move? WG: Terrific - I especially liked "Blackberry Way"
and "Tonight" MK: Did you start recording straight away or did
you go straight into live work? WG: We rehearsed in Roy’s place and in a pub in Birmingham.
It wasn’t all new material. We added parts to "10538 Overture" and, if I remember
rightly, we did it on Top of the Pops before doing any live work. MK: Can you remember the first gig you did with the
band - Where was it, and was it a good gig? WG: It was at the Greyhound Pub in Croydon and I
think everyone was too preoccupied with trying to remember the tunes and the running
order to be nervous. Everything was a bit raw, but yes, I would say it was a good
gig MK: Do you know what the first track that you played
on was? WG: The first track we ever rehearsed was "10538
Overture". The first track I played on at a session was "Boogie 2" recorded at
a studio just off Marble Arch WG: Well, we
had just toured Italy and I really enjoyed that tour. We caused a riot in Milan
and had to get Don out of jail (literally) When we got back Don called me to come
in to see him. What he had to say seemed to point to a fait accompli and
I remember him being almost apologetic that things had worked out the way they
had. None of the string players, including myself, had any say in the matter so
he outlined what had been decided. It was depressing, and one couldn’t
help feeling that all we had worked towards in the previous months was being thrown
away. I felt sad that Roy was leaving because he had a huge creative influence
on the band, but his lack of punctuality could be exasperating. His great talent
as a writer and performer more than compensated for this. There was nothing for
it but to accept what had been decided and to just get on with it. MK: It must have seemed quite an uncertain time for
the band, was there a bit of an atmosphere at the time? WG: In my experience, with any group of musicians
there are always disagreements. It really depends on how good the friendships
are and how positive people feel about the whole venture. Friction is sometimes
a stimulant to creativity. I remember a famous string quartet in which
reputedly the 1st violinist hadn’t spoken to the cellist for years. It must have
been awful to be in a situation like that MK: ELO went through a few different images and sounds
- I wonder how different ELO would have been if Roy had stayed and Jeff had left,
what do you think? WG: That’s an unanswerable question and one can only
speculate. I think Roy and Jeff worked well together at the time and proved later
that they could both be successful working apart MK: Roy was already putting Wizzard together when
he left, What did you think of the Wizzard and Roy Wood solo stuff? WG: I thought Wizzard had a Phil Spector type sound.
It could be that "See my Baby Jive" and "I wish it could be Christmas everyday"
influenced "Waterloo" by Abba MK: You played on ELOs second album which has recently
been released on CD along with some very nice bonus tracks, Are you pleased to
see this album back in the shops, and what do you think about all the unreleased
stuff on there, I expect there is stuff on there that you had forgotten about. WG: Yes it was good when it came out again. The solo
violin track was originally the solo on "Hall of the Mountain King" which, as
you know, is a track on the third album. WG: Yes, most definitely recognise my own playing
although I wasn’t credited with it. WG: I would say that I liked the second album most.
I like “Kuiama” even though the opening reminds me of the opening of "You Only
Live Twice". Also "Roll Over Beethoven" because it was the track which first caught
the public’s imagination. "Dreaming of 4000" on the 3rd album I liked as well. MK: Were you allowed to get involved in the arrangements
to any of the songs that you played on? WG: In the early stages I would say they were band
arrangements, most definitely. In the case of "Roll Over Beethoven" in which
everyone had a percentage of input, there is some of my own original composition
as well as arrangement. One example is the instrumental break which leads into
the violin solo. The Electric Light Orchestra - Roll Over Beethoven 'Live' MK: You seem quite a shy person to me, did you enjoy the dressing up and doing things like Top of the pops? MK: Did you ever think that ELO were going to end
up being one of the most successful bands of the 70s? WG: I think they already were by the end of the first
USA Tour. MK: So why did you leave? WG: I didn’t have any option on that score. MK: After you left, did you keep an eye on what was
happening with the band? WG: Only so far as what was in the press, but was
preoccupied with doing other things. MK: As they got more and more successful, did it
make you wish you were still with them? WG: I realised that no matter how successful the
band was to become, the financial and creative status of the majority of the musicians
including the string players would either remain the same or get worse as time
went on. So, in the back of my mind, I had the instinctive feeling that it was
fortunate to be out of it MK: So did you go straight back into doing session
work? WG: Even when I was with E.L.O. I made a conscious
effort to keep my session work going, so it wasn't a case of 'going back'. MK: It wasn't long before you teamed up with one
of your old band mates Mike de Albuquerque to work with Maxine Nightingale, how
did that happen? WG: It's a long story. It was through the record producer
and writer Pierre Tubbs. I was on a session with Pierre and asked him if, by any
chance, he was related to James Tubbs who was arguably the greatest English violin
bow maker of all time. Pierre is a direct descendant and, because I had a consuming
interest in violin bows I got to know Pierre well.He asked me to do some
string arranging and one of the tracks was Maxine's. I wasn't aware at the time
that the very fine bass part had been played by Mike. MK: And the single, "Right back where we started
from" was a big hit here in the UK and also got to number one in America. That
must have been quite exiting for you? WG: It not only got to number one in the States but
also was used on the sound track of 'Slapshot', a film about ice hockey starring
Paul Newman. Pierre wanted me to travel to the States to MD Maxine's band but
I was tied up with other things MK: You've played on quite a few hits, can you remember
what the first one was? WG: I think it was 'Delilah' by Tom Jones in '68
or '69 and I can still picture it in my mind at Decca in West Hampstead. In fact
I think it could have been the first session I ever played on MK: I've got albums at home with your name on the
credits by artists like Oasis, Seal, Everything But The Girl and The Stranglers,
You must have done hundreds of sessions, Can you give us a few more names of the
people that you have played with? WG: Elton John, Paul McCartney, Rod Stewart, Tina
Turner, Diana Ross, Tom Jones, Joe Cocker, Dionne Warwick, James Brown - that's
only a few who spring to mind MK: Have you got any favourites that you'll always
remember? WG: Besides the above, Roger Chapman, Ian Drury.
Glen Campbell was also great to tour with and especially with Jimmy Webb songs.
It was so enjoyable some of my mates still talk about it even though it was back
in the 70's MK: What can you remember about playing for the Sex
Pistols? WG: It was at Wessex Studios and the air was crackling
in the studio. One of the band was insulting everyone in sight, including the
elderly tea lady, bless her. I loved 'My Way' both as an idea for a hit and in
its execution, and I use the word 'execution' pointedly MK: One of my favourite bands is Oasis, Do you like
them, and what are they like to work with? WG: I first worked with them at 'Maison Rouge' in
Fulham. They liked the first take and that was it. I remember thinking it was
such good material and what a great band. But also thinking that it would never
take off as it was too against the grain of what was popular at the time-so later
I was really happy they took off. I loved the rawness of the early records,
but in my opinion with a lot of these artistes including Maxine, people in the
music business try to 'improve the product'. This usually takes the form of over-arranging
and over-producing but I was fortunately not involved by that point. I found Noel
to be a thoroughly amicable and creative guy to work with- not at all like his
media image. MK: You appeared in one of their videos didn't you? WG: Yes, it was filmed in a warehouse near Wimbledon
Football Ground. I lived in SW20 and used to enjoy taking my son to matches at
Plough Lane so I didn't have any trouble finding the gig (I hasten to add that
I'm a Geordie by birth and a diehard Newcastle United supporter!)
MK: So do you sometimes end up playing live on stage
with some of the artists you work with? ? WG: Yes, including Oasis at Hammersmith. And also
did a gig with James Brown for LWT MK: What's the biggest live gig you have done? ? WG: Couldn't be exact about audience sizes. I remember
some of the USA stadiums being huge, and doing live TV in LA when one was aware
that millions of people were tuned in. Also in Gothenborg when ELO supported Deep
Purple on an early Scandinavian tour. There were 35,0000 Deep Purple fans screaming
for us to get off the stage. A number of full beer cans whistled past my violin
MK: You also ended up playing a session on an album
for ELO Part II, that must have been a bit strange, was that just a coincidence
and did you get a chance to chat to Bev who you had worked with in the original
band? WG: It was just a coincidence as there was a lot
of work around at the time, and I think Bev was a bit tied up at the sound desk
so it didn't amount to more than pleasantries MK: Are there any artists that you would like to
work with in the future? WG: Well this might seem a bit strange but I would
like work with some of the great Hardanger fiddle players of Norway MK: What is the most recent session that you have
worked on? WG: I've been playing on the 'Lord of the Rings'
sequel since summer. I played on some of the American Pop Idol tracks recently
and have also been doing some arranging for a friend's project. MK: This might be a difficult question, but if you
could be remembered for playing on one record only, what would it be? ? WG: Probably 'Beyond the Clouds', a signature tune
by George Fenton and also 'Roll Over Beethoven' MK: Have you ever written any songs and have they
been recorded? WG: Yes, I wrote a lot in the 1980's and recorded
it privately - all instrumental. I'd love to re-record some of it because in comparison
with now, synths were very primitive at the time, As for writing in general, I
always enjoyed it as a form of escapism but was always so busy as a player it
was difficult to fit in.Recently I wrote the music for a documentary about
Tai Chi (I've been studying Tai Chi since 1980, made study trips to China and
now teach it professionally) There has been a positive feedback about the music
MK: Have you ever thought about releasing an album
under your own name? WG: Some day, although, as everyone knows, one needs
time and money MK: Looking back, how would you describe your time
with ELO ? WG: Overall very enjoyable. Such a change from what
I'd been doing up to that time MK: And we must not forget that this year you met
up again with your old band mate Mike de Albuquerque for the first time in about
30 years, what was that like? WG: Mike always has a cheerful and positive disposition,
so its exactly as I remembered him, I've really enjoyed our recent get togethers
and swapping stories MK: Wilf, It's very good of you to do this for my
web site, do you do much 'surfing' on the internet yourself, and would you like
to have your own web site one day? WG: I'm quite techno-phobic. When I enter the room
the computer backs away like a frightened animal, snarling and baring its fangs.
But I'm learning MK: Well, Good luck in all you do in the future,
thanks again for doing this and I look forward to a few more drinks with you in
the near future.. Cheers Wilf WG::It's been a pleasure Martin, and I hope to see
you soon.
Wilf passed away after a short illness in October 2014 - R.I.P Wilf and thanks for the memories Wilf very kindly 'donated'
a piece of his music for visitors of this site to hear.
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