 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
The Revolutionary: Albert Hammond Snr
We then discuss his song, ‘Rock N’ Roll Hero.’ “I use it as myself but it’s also about
a normal person who goes to work, brings in the money. I remember when my father
used to come home from work and I would run out to hug him. It’s about everyday
heroes.” The father-son issue is one which constantly follows Hammond as
Hammond Junior has launched his own successful career in The Strokes. I ask
Hammond if he’s contemplated how life would have been if he had emulated his
own father, a fireman. “I’d still be living in Gibraltar with my mother…and my
wife…and my kids…and my grandkids. We’d all be living in the same room! I learnt
a lot growing up and I appreciate what I have now. It’s something
which my kids have never had to know. I made sure they ate well
and dressed well but I’m not extravagant.”
Having worked with so many ‘greats’ in his career, I ask him which artist from the
past and which from the present he would choose to collaborate with. “They would
both be from the past! Buddy Holly and Elvis.” He then has a think. “And from the
present; I like Radiohead, Coldplay, U2 and The Strokes – although everyone
expects me to say that. Radiohead are unique in what they do. They write great
songs and just take it to some place else. They’re not scared to do it.” He also goes
back to a point we discussed earlier. “And Kurt Cobain. The way he sang, the way he
played. You noticed it came from his soul.” He then tries to recollect the surname of a
“Gary.” My unhelpful suggestion, “Linekar?” is rejected. “No, no…Take That…” Ah, the
fine specimen that is Mr Gary Barlow? “Yes. This guy was so hyped up and there
was so much promise. Then Robbie Williams bursts on the scene and then no one
cared. Imagine that – we shouldn’t destroy people’s hearts like that.”
I probe Hammond on his own songwriting. “I don’t know many chords and
some that I find that I like, I don’t know the name of. These things
just come out. I don’t know anything else,” he tells me. “It’s like I always
say, I write my songs for me and not with a certain artist in mind.” He then spins yet
another magical tale. “My friend Mike Hazlewood (Hammond’s friend of 45 years and
songwriting partner) told me the lyrics to One Moment In Time’s chorus on the
phone. I just sat down at the piano and came out with the opening bar. But I have to
say, when I wrote the first line (he then inhales deeply and then sings in the style of
Elvis): ‘Give me one....moment...in time...’ I imagined Elvis singing it. In a way, I wrote
it with him in mind.” I am completely absorbed by Albert's fascinating tales but
realise unfortunately, I must interrupt and ask mediocre questions.
I ask him who he would choose to pen a song for him. "Definitely Lennon and
McCartney," he says. "Everything they did sounds magical - even the experimental
songs are great. Definitely, I would choose them."
So does his own passion for writing expand to other areas of creativity such a poetry
or even diary writing? “No, I don’t keep a journal,” he says. “I also don’t have any
pictures. People say 'where are your photos with Orbison, Cash and Diana Ross?'
You know, I never thought about it at the time. I even lived with Johnny (Cash) for a
while. I have a Polaroid when I worked with Joe Cocker in the studio and a picture
with me and Julio (Inglesias) as we were performing together and someone took a
shot. But when I’m gone, it’s all in my mind. And that’s where it’s all going.” I ask him
whether he’s contemplated writing his memoirs. “You know, I’ve never
thought about it. Writing a book would take a very long time. I’d
have to wait for the moment to come back to me. Also, I don’t think
anyone would be interested. I’m just a background guy.” Such a waste
I feel, as Hammond seems completely oblivious to his own intrinsic value in the
music industry. That is the greatest shame.
I end by telling Hammond that I’ve enjoyed the conversation and he certainly has an
aptitude for captivating his audience. So, if given a box in Speaker’s Corner
(renowned free-for-all public speaking spot in Hyde Park) what would he speak
about? “I’m so bad at that! I’m only good at one to one’s.” I suggest he could sing his
audience a song. He laughs. “Yes! I’d take my guitar along! I would sing them a
song!” And with that, I bid adieu to Uncle Al and realise that this is a meeting I will not
forget in a hurry.
Interview by Dee Sekar
'REVOLUTION OF THE HEART' IS OUT JUNE 23RD IN UK.
Special thanks to Albert and Lisa Burprich.
For more info: www.alberthammond.com
a normal person who goes to work, brings in the money. I remember when my father
used to come home from work and I would run out to hug him. It’s about everyday
heroes.” The father-son issue is one which constantly follows Hammond as
Hammond Junior has launched his own successful career in The Strokes. I ask
Hammond if he’s contemplated how life would have been if he had emulated his
own father, a fireman. “I’d still be living in Gibraltar with my mother…and my
wife…and my kids…and my grandkids. We’d all be living in the same room! I learnt
a lot growing up and I appreciate what I have now. It’s something
which my kids have never had to know. I made sure they ate well
and dressed well but I’m not extravagant.”
Having worked with so many ‘greats’ in his career, I ask him which artist from the
past and which from the present he would choose to collaborate with. “They would
both be from the past! Buddy Holly and Elvis.” He then has a think. “And from the
present; I like Radiohead, Coldplay, U2 and The Strokes – although everyone
expects me to say that. Radiohead are unique in what they do. They write great
songs and just take it to some place else. They’re not scared to do it.” He also goes
back to a point we discussed earlier. “And Kurt Cobain. The way he sang, the way he
played. You noticed it came from his soul.” He then tries to recollect the surname of a
“Gary.” My unhelpful suggestion, “Linekar?” is rejected. “No, no…Take That…” Ah, the
fine specimen that is Mr Gary Barlow? “Yes. This guy was so hyped up and there
was so much promise. Then Robbie Williams bursts on the scene and then no one
cared. Imagine that – we shouldn’t destroy people’s hearts like that.”
I probe Hammond on his own songwriting. “I don’t know many chords and
some that I find that I like, I don’t know the name of. These things
just come out. I don’t know anything else,” he tells me. “It’s like I always
say, I write my songs for me and not with a certain artist in mind.” He then spins yet
another magical tale. “My friend Mike Hazlewood (Hammond’s friend of 45 years and
songwriting partner) told me the lyrics to One Moment In Time’s chorus on the
phone. I just sat down at the piano and came out with the opening bar. But I have to
say, when I wrote the first line (he then inhales deeply and then sings in the style of
Elvis): ‘Give me one....moment...in time...’ I imagined Elvis singing it. In a way, I wrote
it with him in mind.” I am completely absorbed by Albert's fascinating tales but
realise unfortunately, I must interrupt and ask mediocre questions.
I ask him who he would choose to pen a song for him. "Definitely Lennon and
McCartney," he says. "Everything they did sounds magical - even the experimental
songs are great. Definitely, I would choose them."
So does his own passion for writing expand to other areas of creativity such a poetry
or even diary writing? “No, I don’t keep a journal,” he says. “I also don’t have any
pictures. People say 'where are your photos with Orbison, Cash and Diana Ross?'
You know, I never thought about it at the time. I even lived with Johnny (Cash) for a
while. I have a Polaroid when I worked with Joe Cocker in the studio and a picture
with me and Julio (Inglesias) as we were performing together and someone took a
shot. But when I’m gone, it’s all in my mind. And that’s where it’s all going.” I ask him
whether he’s contemplated writing his memoirs. “You know, I’ve never
thought about it. Writing a book would take a very long time. I’d
have to wait for the moment to come back to me. Also, I don’t think
anyone would be interested. I’m just a background guy.” Such a waste
I feel, as Hammond seems completely oblivious to his own intrinsic value in the
music industry. That is the greatest shame.
I end by telling Hammond that I’ve enjoyed the conversation and he certainly has an
aptitude for captivating his audience. So, if given a box in Speaker’s Corner
(renowned free-for-all public speaking spot in Hyde Park) what would he speak
about? “I’m so bad at that! I’m only good at one to one’s.” I suggest he could sing his
audience a song. He laughs. “Yes! I’d take my guitar along! I would sing them a
song!” And with that, I bid adieu to Uncle Al and realise that this is a meeting I will not
forget in a hurry.
Interview by Dee Sekar
'REVOLUTION OF THE HEART' IS OUT JUNE 23RD IN UK.
Special thanks to Albert and Lisa Burprich.
For more info: www.alberthammond.com
Meeting Albert Hammond Snr is certainly a delightful experience. From the
moment he floats in to meet me (looking rather dapper and smelling like my father in the Old Spice
kind of way), he clearly epitomizes everything about the ‘old world’ of popular music. The only thing
that doesn’t fit is Hammond’s appearance. He looks not a day over forty but mentions many times
in the interview that he has been on this earth for 61 years. Cor blimey! What is the secret? “I like
wine with my meals but I’ve never been much of a drinker. I also eat what I want. I had a couple of
years where I went off the path a bit, but I think it is just good genes,” he says with a cheeky smile.
I immediately warm to Hammond. When we were introduced, he replied to my handshake with a
kind smile and big hug. He’s avuncular in nature and reminds me of a favourite
family member who always has a twinkle in his eye and plenty of wonderful
tales to share. However this twinkle little star’s stories involve musical stellars such as Johnny
Cash, Joe Cocker and Roy Orbison. Oh, Uncle Albert! Do share more!
Hammond begins by telling me about his day so far. We meet at 1pm on a hot, glorious day at The
Royal Garden Hotel, Kensington (where I mistake an undernourished Paul Gascoigne for Billy Idol
when waiting at the reception). “It’s been a good morning. I’ve done three phoners-each about 45
minutes but it’s been a great day so far.” That really puts the pressure on me to ensure that it
doesn’t change now. I tell him a bit more about SSS and what we’re trying to do. “That’s
wonderful!” he says. “I agree, language is slowly being destroyed and slang is accepted as the
norm these days.” He then recounts fond memories of reading Enid Blyton's Secret Seven and
Famous Five books. "There are lots of caves in Gibraltar and I would run around with my
imagination. Fantastic!"
Hammond’s latest musical offering, 'Revolution Of The Heart,' tastes different to the
usual buffet of my musical appetite but lingers proudly on my palate. It forms a
personal journal of Hammond's life up to now and includes his own social commentary on our
world today. Listening to the album made me contemplate music history which is something our
generation should try and reflect on. If it were not for Hammond, Sayer and Bacharach churning out
hit after hit, the boom and accessibility of popular music may not have happened as and when it
did. It is also good to remind oneself that at times in our musical history, mainstream popular
music has been respected, melodious and thoughtful. Pretty much like the art of language, that too
is deteriorating.
I begin by asking Hammond about his English/Gibraltarian roots. He was born in 1944 in London
as “my mother and other family members were evacuated from Gibraltar during the war” and they
moved back after six months. “I consider myself a Gibraltarian as that’s all I’ve ever known,” he
tells me. “I also consider myself to be a man of the world. I’m not very patriotic to
any country. I love the world. It’s a beautiful world and it’s the only one there is.”
This is the first of many remarks he makes after which I feel he’s about to sing me a song. It’s
marvellous to hear Hammond’s poetic lyricism creeping into his everyday speech. It is exactly how
I imagined he would be (you’d be surprised at the number of ineloquent songwriters I have met).
He continues, “I’m just a man of the world; who tries to be as honest as he can, as truthful, as
respectful as he can. I may steer the wrong way now and then but we’re human beings. We’re not
perfect.” Ah, I can hear the piano chords already...
I tell Hammond about my personal experiences of being evacuated during the first Gulf War (I used
to live in Saudi Arabia). Isn’t it a shame we both had to endure the same terrifying experience 46
years apart? “That’s part of the way I feel like I do, and I think why you feel like you do," he says. "If
you’re uprooted-even in your mother’s womb-you feel something. I consider myself a war baby –
just like you! So there you go; it isn’t like we’ve learnt a lesson. We’ve done it again..”
Songs on the new album like ‘Not In My Name’ and ‘Photograph’ are politically charged and
Hammond is not afraid to speak his mind. “I’ve taken a slightly different slant; it’s not
like I’m shouting out ‘stop the war.’ In 61 years, I’ve realised no one’s able to
stop it. I’m just saying, ‘do what you want but I’m not with you.' I want people to
know that I’m not giving my permission.”
moment he floats in to meet me (looking rather dapper and smelling like my father in the Old Spice
kind of way), he clearly epitomizes everything about the ‘old world’ of popular music. The only thing
that doesn’t fit is Hammond’s appearance. He looks not a day over forty but mentions many times
in the interview that he has been on this earth for 61 years. Cor blimey! What is the secret? “I like
wine with my meals but I’ve never been much of a drinker. I also eat what I want. I had a couple of
years where I went off the path a bit, but I think it is just good genes,” he says with a cheeky smile.
I immediately warm to Hammond. When we were introduced, he replied to my handshake with a
kind smile and big hug. He’s avuncular in nature and reminds me of a favourite
family member who always has a twinkle in his eye and plenty of wonderful
tales to share. However this twinkle little star’s stories involve musical stellars such as Johnny
Cash, Joe Cocker and Roy Orbison. Oh, Uncle Albert! Do share more!
Hammond begins by telling me about his day so far. We meet at 1pm on a hot, glorious day at The
Royal Garden Hotel, Kensington (where I mistake an undernourished Paul Gascoigne for Billy Idol
when waiting at the reception). “It’s been a good morning. I’ve done three phoners-each about 45
minutes but it’s been a great day so far.” That really puts the pressure on me to ensure that it
doesn’t change now. I tell him a bit more about SSS and what we’re trying to do. “That’s
wonderful!” he says. “I agree, language is slowly being destroyed and slang is accepted as the
norm these days.” He then recounts fond memories of reading Enid Blyton's Secret Seven and
Famous Five books. "There are lots of caves in Gibraltar and I would run around with my
imagination. Fantastic!"
Hammond’s latest musical offering, 'Revolution Of The Heart,' tastes different to the
usual buffet of my musical appetite but lingers proudly on my palate. It forms a
personal journal of Hammond's life up to now and includes his own social commentary on our
world today. Listening to the album made me contemplate music history which is something our
generation should try and reflect on. If it were not for Hammond, Sayer and Bacharach churning out
hit after hit, the boom and accessibility of popular music may not have happened as and when it
did. It is also good to remind oneself that at times in our musical history, mainstream popular
music has been respected, melodious and thoughtful. Pretty much like the art of language, that too
is deteriorating.
I begin by asking Hammond about his English/Gibraltarian roots. He was born in 1944 in London
as “my mother and other family members were evacuated from Gibraltar during the war” and they
moved back after six months. “I consider myself a Gibraltarian as that’s all I’ve ever known,” he
tells me. “I also consider myself to be a man of the world. I’m not very patriotic to
any country. I love the world. It’s a beautiful world and it’s the only one there is.”
This is the first of many remarks he makes after which I feel he’s about to sing me a song. It’s
marvellous to hear Hammond’s poetic lyricism creeping into his everyday speech. It is exactly how
I imagined he would be (you’d be surprised at the number of ineloquent songwriters I have met).
He continues, “I’m just a man of the world; who tries to be as honest as he can, as truthful, as
respectful as he can. I may steer the wrong way now and then but we’re human beings. We’re not
perfect.” Ah, I can hear the piano chords already...
I tell Hammond about my personal experiences of being evacuated during the first Gulf War (I used
to live in Saudi Arabia). Isn’t it a shame we both had to endure the same terrifying experience 46
years apart? “That’s part of the way I feel like I do, and I think why you feel like you do," he says. "If
you’re uprooted-even in your mother’s womb-you feel something. I consider myself a war baby –
just like you! So there you go; it isn’t like we’ve learnt a lesson. We’ve done it again..”
Songs on the new album like ‘Not In My Name’ and ‘Photograph’ are politically charged and
Hammond is not afraid to speak his mind. “I’ve taken a slightly different slant; it’s not
like I’m shouting out ‘stop the war.’ In 61 years, I’ve realised no one’s able to
stop it. I’m just saying, ‘do what you want but I’m not with you.' I want people to
know that I’m not giving my permission.”
| All images, words, site design Copyright © Soma Soma Scene 2005 unless otherwise stated All Rights Reserved |
