The young ones

Having written a novel about a fictional blues band, I invariably find that when I go to a gig, I end up mentally comparing my invention with the real thing, to see how accurate my imagination was.

Last night I went to The Half Moon in Putney to see Nine Below Zero, expecting to see a band at much the same stage of their career as The Hornets in the later chapters of First Time I Met The Blues. I wasn’t disappointed – and NBZ were excellent. What I didn’t expect was to discover another band right at the start of their journey.

My friend Chris and I were catching up on each other’s news and barely noticed the support act (The Aaron Keylock Blues Band) take to the stage. We just had time to register that the trio (guitar/bass/drums) appeared to be in their early teens before they launched into a hard and heavy blues instrumental. All around us, jaws dropped. This was seriously good.

Aaron himself, the singer and guitarist, is a diminutive boy whose shoulder-length hair and check shirt bring to mind a young Rory Gallagher. But I doubt that Gallagher was this good at the age of 14. Aaron can play fast, intricate solos and slow-burning blues that build to a climax, he can play slide guitar, he writes his own songs – he’s even managed to become jaded with the biz already, earnestly introducing one song with the deathless line, “This is about the music industry.” The one thing he can’t do very well right now is sing, mainly because his voice sounds like it’s in the process of breaking.

So how do they compare with my fictional Hornets? I must admit that my imagination didn’t stretch to making a bunch of lads in their early teens quite as skilful and polished as Aaron and co. Des, the Hornets’ leader, is certainly talented and pretty sure of himself, but I never pictured him as being that good – and he’s already older at the start of the story than Aaron is now. It’s quite mind-boggling, really. Check him out for yourself if you don’t believe me.

The gig did confirm one thing I got right, though. I wanted the book to demonstrate that there is something about the blues that gives it a timeless, universal appeal – so why shouldn’t a group of boys growing up in Watford in the early 60s want to play this music? The fact that a boy from Oxford like Aaron Keylock is following the same path in 2012 is further proof that the blues will never die. The torch just gets passed on from one generation to the next.

Middle-aged men in pubs

A couple of weeks ago, after watching Watford beat Sheffield Wednesday 4-1, I passed the One Bell pub on the High Street on my way back to Watford Junction station. From inside came the unmistakeable sound of a 12-bar boogie, and looking through the window I saw a bunch of middle-aged men – guitar, bass, drums – playing to a small crowd of drinkers. If I hadn’t had a train to catch, I’d have gone inside to listen myself. Because, in an alternative universe, that group could well have been The Hornets – the fictional band in First Time I Met The Blues.

The phenomenon of middle-aged men playing blues in pubs was one of my key inspirations for the novel. In my twenties, I often found myself in pubs where a band was performing classics from the Chicago blues repertoire – Muddy Waters, Howlin’ Wolf, Elmore James and the rest – and I couldn’t help noticing that the musicians were never in the first flush of youth. It was the hair that gave it away, mostly: either disappearing fast, or inappropriately long, and occasionally both at once.

So I started to wonder where these middle-aged blokes had come from. Had they always played the blues? Had they, perhaps, tasted success when they were younger? Was this what they expected to be doing in their forties and fifties?

From there, it was a relatively short step to inventing a fictional blues band and creating a back story for them; working all the way back to when they were teenagers falling in love with the music, then giving them a glimpse of success and seeing how they coped when things didn’t turn out the way they’d anticipated. After all, for every Eric Clapton or Mick Fleetwood, who used the British Blues Boom of the 1960s as a stepping stone to a life of limos and leggy blondes, there must have been dozens of blues musicians who didn’t become rich and famous. First Time I Met The Blues tells the story of three of them.