Lee Hazlewood

It’s a cliche but they say you should never meet your heroes. And I never did meet my hero Lee Hazlewood: I’ve met a few other heroes though and more often than not wished I hadn’t.

But Wyndham Wallace did meet his hero Lee, and that meeting turned into an extraordinary eight-year friendship at the end of Lee’s life. A friendship that saw Wyndham flying backwards and forwards to Lee’s home in the US, putting on solo shows with Lee in London (two of which I had the pleasure of attending), and ultimately working as Lee’s UK publicist and manager.

In his book Lee, Myself and I Wyndham carefully chronicles those eight years with the respect and devotion that only a true fan and admirer of Lee’s work could. He also shows Lee warts and all for the grumpy old sod that he could be; the difficult old curmudgeon; the high maintenance drama queen. Balanced with this is a touching story of an unlikely friendship with this legendary songwriter and raconteur.

My own hero worship of Lee Hazlewood spans back to around 1990, when I was a 12-year-old girl at our holiday home on a remote and antiquated tiny Greek island. My parents had built the house only a few years before and were slowly shipping over to Greece bits and pieces to furnish our second home. And among the ancient Austrian wall-hangings of hedgehogs and the homemade flat-pack shelves was a dilapidated old boxed record player that probably originated itself from the 1960s or 1970s.

To play on the record player my mum had brought along the bulk of her slim record collection. She will be the first to admit she was never a massive music fan, she liked the Beatles and guitar pop, as well as Bob Dylan, Joan Baez and Nana Mouskouri. There was also a Zorba The Greek LP in there (of course). My brother Dan and I had brought along a few of our own LPs to play, some 1990 classics such as Martika and Kim Wilde. I remember Toy Soldiers being played an indecent amount. (Imagine that, kids - when you used to bring vinyl LPs to play on holiday rather than your tiny iPods.)

When we tired of Toy Soldiers and You Came, we started rifling through the funny old LPs from the 1960s and 1970s that were in our mum’s moth-earned collection. One of these was a battered LP with a brown background and two faces in close-up - one of a heavily moustachioed man and the other a pretty blonde young woman. It looked funny. It looked so unlike the records we liked. So we put it on. It was, of course, Nancy and Lee by Nancy Sinatra and Lee Hazlewood. A record my mum had bought in 1968 from Harrods (the price sticker was still on the corner) during her lunch break when she worked for an interior designer just behind the Brompton Road, London.

So we played Nancy and Lee, and we played it over and over again, compulsively so for the remaining weeks we were on this tiny Greek island. In hindsight this funny, old-fashioned island (where water was delivered to the houses just once a week, and where electricity had not been connected until 1988, and where in 2015 we still have neither the internet nor a phone line) seems the perfect place to enjoy the psychedelic country pop of Nancy and Lee.

I can’t speak for my slightly-older brother, but the sauciness and double entendres embedded in songs like Some Velvet Morning, Sand and Ladybird were lost on me. But I loved the songs so much that even though the whole LP in entirety is only about 35 minutes long, I played it over and over again on this battered old record player, never tiring of it. We played it loud, we sang along, we loved it. Really loved it.

When we packed up to come back to England and school, Nancy and Lee made its way into my suitcase alongside Kim Wilde and Martika (who had been remarkably quiet for the past few weeks) and flew back into the UK where it was opened up again in my Somerset bedroom and placed on my own crappy record player. Back in the UK, the record sounded very different. It had lost some of its freshness and silliness that had made it so much fun in the heat and sun of our ancient Greek island. And it ended up tucked in with my other records, which in turn made their way back onto the turntable. Maybe it had just been a holiday fling.

But over the next year or two I never forgot this funny record of my mum’s that was among my chart LPs. And then one day, on a mixtape that a friend of another brother’s had made for him, there were some solo songs by this guy Lee Hazlewood. I liked them… I liked them a lot. So I dug Nancy and Lee out again and listened to it afresh, and I fell in love with it all over again.

In the years that followed, aged about 15-20, I would duck in and out of second hand record shops and music markets looking for more old LPs by Nancy and Lee, either together or individually. I befriended the old man who ran the indoor market near the old cinema in town, he had half a building full of ancient records, mostly from the 1960s and 1970s, and he knew what I was on the lookout for because I’d go in there often enough to ask him if he had any Nancy or Lee records. 

One day when I went in there, I must have been about 17, he told me he had something for me… it was a record I’d never heard of but it made my heart light up. A grey LP with a black and white photo of Nancy and Lee together on, called Did You Ever? I bought it at once and rushed home to play it. I still remember now, it was a sunny day, I had my bedroom windows open, and I sat on the edge of my bed listening to this amazing new (to me) record. It was magical. It seemed more sophisticated and grown-up than Nancy and Lee, but maybe that was because I was no longer 12. 

All summer I played Did You Ever? over and over again. Thanks to my friend at the indoor market, copies of some of Lee’s very old solo albums started to come my way as well, and while at Rough Trade in London I snapped up some of Nancy’s solo albums that Lee had worked on with her… I was gathering quite a collection.

This was all before the internet, when it was very hard to find out information about Lee Hazlewood that wasn’t on the back of record sleeves… and there wasn’t much of that. None of my friends were interested in this music, so there was nobody to talk about it with. That didn’t bother me, I was used to my friends thinking of music tastes were ‘weird’. In time, some of Lee’s older hard-to-find solo records were reissued and I ordered them up in the record shop I then worked in.

By the time I moved to London in 2000, I had quite a collection of Lee’s records but still knew very little about him. But on the back of the reissues there were a few articles in the Observer and music magazines that hinted at his 2002 book The Pope’s Daughter (about his friendship with Frank Sinatra’s daughter Nancy) - I ordered it on Amazon and waited about three months, seriously, for it to be shipped over from the US. (By the way, the book was awful!)

I also heard about a live show he was doing at the Royal Festival Hall… I couldn’t believe it and went online to book tickets. They were almost all gone as I only heard about it a week or so before the event. But there were a few tickets left up in the gods… Nobody I knew would want to come with me, tickets weren’t cheap, but I couldn’t bear to miss out.

Seeing Lee perform live on stage was amazing, and that 2002 show remains in my top five all-time greatest gigs ever. I left the Festival Hall and walked back to the tube at Waterloo feeling like I’d seen something truly special and unforgettable. In 2004, I saw Lee again at Festival Hall - we had better seats in the stalls this time, and although it was never going to be as magical as the first show it was still spellbinding. To add to the magic, a few months later I saw Nancy Sinatra perform on the same stage as part of Morrissey’s Meltdown. Just outstanding.

When I read in 2007, aged almost 30, that Lee Hazlewood had passed away I felt truly saddened, although I had known he was very ill. I was sitting in a cafe in Westminster having my lunch when I read it in a magazine. I instantly lost my appetite and felt tears pricking the corners of my eyes. It seemed ridiculous. I’d never met the guy, I didn’t know him, but I’d loved his music for so long and felt like I’d grown up listening to it. Lee felt like a big part of my life. For almost 20 years I’d hunted his records out in an era when rare music wasn’t as freely available as it is now, and I’d treasured each and every one. The only other death of a stranger that had affected me so much was the suicide of singer Billy Mackenzie in 1997, which seemed like such a personal loss when, again, I didn’t know the guy, I just loved his music.

So reading Lee, Myself and I now by Wyndham Wallace, when Wyndham is writing about the period up to Lee’s death, the shows I went to see (that Wyndham orchestrated), the tribute album Total Lee that I bought and loved in 2002 (that Wyndham was involved with)... it all struck a chord. It’s a delicious book and a tender book. I cried at the end, reading Wyndham’s speech at Lee’s memorial service. And now I’m writing this, listening to my mum’s crackly old 1968 LP of Nancy and Lee. Which, by the way, is only worth listening to on vinyl. I’ve tried a digital version and it sounds cold and soulless. Stick to vinyl, folks, it’s the future.

'Toast On Toast' by Steven Toast

Toast of London is one of the finest delights on Channel 4's comedy schedule. If you've not seen it yet, you're in luck because there are three seasons for you to catch up on and they're all available on 4OD. 

Steven Toast is Matt Berry's best creation to date, and considering he's been in everything from The IT Crowd to Garth Marenghi's Darkplace and Snuff Box, that's really saying something. 

Toast has been around since 2012 and follows the woefully outdated (and shit) thespian Steven Toast as he attempts to maintain some semblance of a life as a working actor. He's brilliantly full of himself, completely self-absorbed, disgustingly selfish and impressively untalented. 

Toast lives in squalor with his friend, the permanently pyjama-ed actor Ed Howzer-Black (Robert Bathurst); has sex with his sworn enemy Ray Purchase's wife (Tracy-Ann Oberman); and is constantly sent to ridiculous jobs by his useless agent Jane Plough (Doon Mackichan). Best of all, he regularly records voiceovers for hipster idiots Clem Fandango (Shazad Latif) and Danny Bear (Tim Downie). Please watch it. Toast is so good that guest stars in the current series include Jon Hamm, Brian Blessed and, err, Lorraine Kelly.

So it was only a matter of time before co-scriptwriters Matt Berry and Arthur Mathews put together a Toast book, and Toast On Toast is part-memoir, part-manual for aspiring thespians who want to follow in Toast's footsteps. It's brilliant. Not only for the amazing names of every single person who cracks a mention, but also for the brilliant send-ups of so many actors' worst nightmares. 

Steven Toast's deluded sense of himself is pitched perfectly. And to cap it all off there is a brilliant series of posters at the back of the book for plays that he has appeared in, such as 'De Oglee Dlecker!' by Flannery O'Mathews (co-starring Paul Hewson, Liam Galway and Noel Early... see what they did there?). 

'Greengates' by RC Sherriff

Shame on me. For Greengates is the third book republished by the wonderful Persephone Books, yet it is the first of his books that I've read. And yes, you did read that right. 'His books' - for with Robert Cedric Sherriff, Persephone has broken with its usual custom of reprinting forgotten books by wonderful women writers. 

Greengates is a deceptively simple book. At face value it is an enormously readable novel about Tom Baldwin who retires from his job with an insurance company and settles into his suburban life (if you can call London's Edgware Road, W2, just around the corner from Marble Arch, surburbia!) with his kindly wife Edith and their grumpy maid Ada. But a year of nothing quickly gives way to the fact that for both Tom and Edith, retirement doesn't bring the promised opportunity for creativity and freedom. Instead, retirement brings boredom and resentment to the couple. That is, until they decide to up sticks and move to the country (if you can call the fictional village of Welden Valley, which is a 30 minute train ride from Edgware Road, country!) and life becomes exciting again.

There is so much more to Greengates than that plot summary, though. It is a novel about time: not just for people but for England as well. The stories of the Baldwins' two houses - Grasmere and Greengates - represent the way time has moved on in the country before and after the First World War (Greengates was first published in 1936). Grasmere is a dark and steadfast old house, rooted in the past, where nothing has moved with the times. Greengates is brand new, fresh and full of promises for the future. The furniture within the two houses, the journeys between them, the people who surround them... all of these factors represent the passages of time, of attitudes in Englishness, of the British tradition of resistance to change.

RC Sherriff writes with such wonderful eloquence. He has fantastic turns of phrases that are at once very neat and precise, while also being beautifully descriptive and evocative. There is no shortage of detail or fascination in his writing, and all of this closely exacting text succeeds in recreating the small and closed world of the Baldwins and their narrow frame of reference.

It's hard to explain why a novel about a couple of retired folk buying a house should be so compelling to a woman in her mid-30s but Greengates truly is - last night I found myself staying up into the small hours reading 'just one more chapter' until I had finished the whole book. And I already have Greengates inked in as the perfect present for several people I know.

There are two more RC Sherriff books republished by Persephone, A Fortnight in September and The Hopkins Manuscript. I'm making it my business to hunt down copies of both at once!

'The Night That Autumn Turned To Winter'

Photo: Jack Offord

There’s something for everyone at Bristol Old Vic this Christmas, and while Sleeping Beauty works its magic in the main theatre upstairs, The Night That Autumn Turned To Winter has transported the downstairs Studio into a magical woodland world for younger theatre goers.

Produced by the reliably consistent Little Bulb Theatre Company, The Night That Autumn Turned To Winter takes us into the woods for the very final day of autumn as the animals prepare for the coming of winter and, squee, the much-heralded winter unicorn (no press pictures were available of this magical being, presumably because such a special creature cannot be captured by even the best of photographer’s lenses).

Dressed a little like Brownies, our three narrators are wardens of the woods: fairy creatures who keep an eye on the woodland happenings and make sure all the animals play nicely. There will be no fighting here (take note, fox and badger).

Photo: Jack Offord

In a softly woven woodland made of a thick carpet, fabric trees and archways, and wooden tree stumps, our cast (Clare Beresford, Dominic Conway and Miriam Gould) take on the roles of all the creatures, from rabbits who need to sing opera to earn their carrots, to a fox who cleverly disguises himself as a jazz musician (remember, you can never trust a fox so don’t give him your purse).

With plenty of songs, it’s fun to see them all ended with a rock’n’roll-esque jump by the trio. And the audience participation is all very gentle and inclusive - well done to the school teacher who was coaxed on stage to help with one bit of the play!

The hedgehogs are adorable, the fox costume clever, but the spider truly terrifying! Clearly the idea is to encourage children not to be scared of these eight-legged creatures… but alas it was too late for this writer, who has spent almost 40 years quaking at the sight of a hairy arachnid: so to be rather close to a human-sized spider and all of its eyes was absolutely terrifying. I’d like a badge for bravery please!

The Night That Autumn Turned To Winter is performed until January 10 with performances at a range of times. For more information and to book tickets, please click here.