The record company seemed to be having an identity crisis. Acid Jazz was now three record labels (Acid Jazz Records - Acid Jazz:Roots and Focus Records) as well as a recording studio, a music publishing company, a night club and now with the Paolo Hewitt's biography of The Small Faces being published through the company, - now based in impressive offices at 11 Greek Street, Soho - a book company too!
This was the heady days of the Brit-Pop phenomenon and The Small Faces were the name being dropped by every Wallabee and vintage denim clad, shaggy haired musician at the time. Piller's next big idea was a tribute LP and concert to tie in with the publishing of Hewitt's book and me (being the only mug dumb enough to fancy it - other than 'Big' Bob Morris) was charged with organising and MC-ing a Small Faces tribute night at The Blue Note Club. New Wavers and Brit Poppers of all ages clamoured to be included in the line up which on the night did a surprisingly good job of re-creating that special Small Faces type of feeling. Mother Earth played their well-rehearsed Faces covers. Also performing on the night Ocean Colour Scene, These Animal Men, Steve Diggle of The Buzzcocks and Andy Bell, (then of Ride now Oasis) all got in on the act. If my memory serves me correctly there was an all-star group that featured Bryn, Graham Day of The Prisoners, Chris White, Tony Barbour (also from The Buzzcocks) fronted by the lovely PP Arnold who of course recorded with The Small Faces on Immediate Records back in the day. The reason I mention these names is that some of feature in the Mother Earth story later in the day.

Mother Earth had secured themselves some new management in the laid back form of Mr Johnny Chandler who began proceedings to try and get the band off Acid Jazz Records. The working relationship that had worked well on The People Tree was becoming a tense stand-off. That said - they still had contractual obligations to the label that meant another album had to be written and recorded. 'You Have Been Watching' had for some a swan-song feeling about it from the outset. When it finally had release, with that title, and the cover featuring the blurred figures of the band walking off into the distance you could feel an ending fast approaching. Not that it's a bad record. Tracks from it still feature as many peoples Mother Earth favourites. For me, 'Get Along' just has something about it. The first time I heard that song playback in the studio that I would be humming it to myself over and over again (probably on drunken, late night walks home) for years. And I was right!

The LP was recorded with the new Acid Jazz in house engineer Mike Pelanconi. Mike was another prodigious talent who was working in several roles for the label at the time. Mike took the sound in some different directions, most noticeably on 'Non Corporealness' - a dub type track with reggae horns (you know those ones) and squelchy production techniques. Matt and Mike never really got along in the studio and he seemed to be moving further away from his band mates and the concept in general. Perhaps the final straw was when I had to get the LP mastered before the band felt it was properly finished and were ultimately happy with it. Record company machinations meant that finished masters had to be delivered to the Japanese licensees early. The end result was that 'The Life Eternal' - a track rejected from The People Tree - ended up on 'You Have Been Watching'. Matt, when I told him was not happy with that at all. I didn't blame him either. When someone from the label is telling the main songwriter what is on his bands album, you know that something is seriously wrong somewhere.

On a Belgian festival date, another simmering issue came to a head. All of the band were quite partial to getting a bit squiffy but Chris had enjoyed a particularly wayward few days (fuelled mainly by Pocheen - the legendary Irish moonshine that can stop carthorses in their tracks) that had resulted in him acting rather daftly and in making 'a bit of a mess' of a hotel lobby. When the band got back to the UK Chris was sacked from Mother Earth. This was quite a shock for those around the band. Groups tend to bicker and have fall-outs but this seemed a very final move that begged the question: what next?

Neil Corcoran had featured in the line-up of some 'all-star' jam sessions that I ran at the Blue Note Club for some months before taking the night to The Jazz Cafe. One night he stood transfixed - as did everyone else in the club that night - as a unfeasibly young drummer stole the show with the most amazing barrage of skilful playing that you have never seen.
Jose Hadaway, Venezuelan of descent, but raised in East London, had been a prodigious musical talent from an even earlier age. His father, Lenny was a multi-instrumentalist and Jose had been born with drumsticks in hand, and was probably knocking out very complicated polyrhythms on his pushchair not much later.
Jose was that good he had secured sponsorship from a drum company when most kids spent their time picking scabs or torturing insects. Lenny would tell with pride the story about the day Jose took part in a percussion jam with Stevie Wonder (a child prodigy too) at a ridiculously early age. Jose could also play piano like Thelonius Monk, and had his own writing and programming studio - music just fell out of this kid. With the drum chair empty within Mother Earth, Jose was auditioned and recruited but it was on a session player basis - not as a signed member of the band.

The effect on Mother Earth's live show was pretty profound. By the time I got round to seeing them with Jose onboard they were at the end of a long bout of touring, which culminated in an unforgettable show at London's LA II on the Charing Cross Road. The stage seemed bigger than I had ever seen the band perform on - the light show was flashier than I had seen them play under and with Jose's super fast jazz/rock/fusion drumming, the band had taken on a bigger, slicker dimension. I was impressed - if a little taken aback by the different feel Mother Earth had in this period. It is Jose' playing that supercharges through Mother Earth's live double album 'The Desired Effect' (released May 1996) complete with cover shot proudly featuring Bryn's Hammond sporting Brian Auger's signature on the top of it.

When the band sold out one of their biggest London shows ever at the cavernous London Astoria, I arrived during the sound check, (that's what most A & R men do - say 'hi' to everyone, drink the drink - take the drugs and pretend that somehow without their presence the evenings show would never have happened)
Interestingly enough as I arrived I saw a Hammond-Suzuki Digital BX3 organ onstage. Fittingly it belonged Kula Shaker who were supporting that night. It was fitting because, although it looked like the real thing, it actually was a modern, gutless pale imitation of the real thing (with a disc drive inside - I ask you!). That pretty much summed up the bands' (and my) attitude to Kula Shaker - or Worm Shakers as they became known that night due to their rather distant and sniffy attitude.
I always felt that if Mother Earth had been able to secure themselves the kind of record deal (and marketing budget) that Kula Shaker had, they would have blown other assorted Brit Pop chancers of the time off the fucking map.
It's a sobering thought that these days, marketing seems to have more to do with success than talent and here was a prime example. It's enough to make you want to pack it all in.

I can't remember when I first heard that Matt was packing it all in. It was one of those things that was no great surprise but the shock was still tangible. As far as I know the first time the public heard of the news was when Matt casually announced it to the audience at the last Phoenix Festival - he let slip that little bombshell between numbers. I was watching from the side of the stage and remember feeling just plain, old fashioned sad. I had seen this bands first gig, was privileged to guest on their best LP and had been convinced that this band could have, given a proper chance, blown up real big and kicked some stupid Brit-Pop arse. It was not to be. It is a real paradox that Acid Jazz Records was a very creative, fertile starting point that had led to the bands creation, but also it's limitations contributed to the bands demise.

With his most commercially promising band falling apart at the seams, Eddie Piller decided he could not let this dead horse lie still. Offering the remaining members studio time -with Chris White back in what was left of the group, there followed a confusing time where various people contributed to some demos and Mother Earth type side projects. Andy Bell (then of Ride and now Oasis) contributed to a session, as did various names like Mike Bandoni and a Matt Woodman, who I never met.

The reason I never met them was in September 1995, after receiving a 'sorry we can't pay you' letter instead of my payslip I decided to leave Acid Jazz Records employment. It was still a difficult decision but made a lot easier by the general mess that the company seemed to perpetually be in. The other deciding factor was what my disbelieving ears heard when I had my last A & R meeting. After relating to the boss various 'roster' problems that we were experiencing I was told, in no uncertain terms, to remember that "all artists are c~nts".

"That's enough of that" I thought.

Similarly, Bryn Barklam had decided that a Mother Earth without the main songwriter (but still playing his tunes) was verging on being a tribute band and decided to make his exit as well. With Chris and Neil the only original member's left some further demo's were recorded but nothing really was happening with this particular half-way house.

Mother Earth had come from a bit of a happy accident to being one of the decades most influential and talked about groups. Bryn's overwhelming recollection of his time in Mother Earth was the feeling he experienced from the very early days onwards, that the group had within its make-up that special ingredient that is difficult to define or pin down. From the beginning, when they didn't even have that many tunes to perform it still wasn't a problem - somehow even when they were jamming without any real idea where the music was going, there was that such a sense of almost telepathic communication between the band members that the music just kind of wrote itself.
The instinctive, non-verbal communication the group enjoyed became the medium via which many excellent songs became realised - 'A Trip Down Brian Lane' being a very good example. The basic backing track was recorded with no fixed idea of what it was or where it was going. But upon hearing what they had collectively forged without really trying to, the group later added vocals and other over-dubs to this classic track, which I know for a fact often features in ex Young Disciples man Marco Nelson's DJ sets to this day.

Mother Earth may always have to be content with cult status instead of the 'mortgage paying' success of other bands who they were to influence - but they should all be very proud of the fantastic recordings and live performances that are still talked about with near reverence amongst their followers. Recently, I asked Matt what one of his fondest memories of the band was, and in typical Matt fashion, told a dateless, location-less story of playing a very well received festival date in Europe in front of a massive crowd. Coming offstage with thunderous applause ringing in their collective ears, Matt asked the promoter who the headline act was that had pulled in such a huge, enthusiastic crowd.
The confused promoter replied to an equally intrigued Mr Deighton: "Er.….you guys".

But all the early promise had evaporated into a cloud of bad feeling, distrust, frustration and suspiciously small royalty cheques. The dream that had begun on that nervous, first gig night at the T & C 2 nearly five years before was dead.

It was an ex band.

It had ceased to be.

Individually, all of the band had been involved in different musical ventures in the time that they were not together. Matt, of course, aside from his solo work had been Paul Weller's guitarist for two years. This had also resulted in him guesting, with Weller on Carleen Anderson's 'Blessed Burden' album and also doing his bit on Dr John's' 'Anutha Zone' LP. Then out of the blue came the famous Oasis job. The Gallagher brothers had another bust up on the road, and Matt's name was put forward to take Noel's place to get the tour completed. And that really is another story altogether.

Neil had enjoyed success with funky club/dance material, working with producer/engineer Mike Pelanconi again and his partner (and one time Mother Earth backing singer) Zan, under the name of Sutra.

Both Bryn and Chris got just a little 'punky' with their respective session jobs. Bryn worked with The Buzzcocks who supported the re-formed Sex Pistols live at the Finsbury Park leg of their Filthy Lucre Tour. He also did a short stint with revived revivalists The Chords. Chris White toured with The Angelic Upstarts - the group whose line-up boasted number one Mother Earth fan and 'geezer' Tony Morrison. And that's not history - that's fact!

The year 2001 - A new millennium and I'm sitting at a Hammond Organ in a rehearsal studio in Camden - trying to work out the intricacies of playing the apparently very hip sound of what has become known as 'deep funk' in a nine piece band. When there are that many musicians in a group it can be hard working out exactly where you fit in musically. It was made extra difficult because for the previous 2 years I had been lucky enough to feature in the group that had been Matt Deighton's live outfit. For those who have heard 'You Are The Healer' and 'The Common Good', it is a wonderful mix of folk, rock and - oh forget the categories and pigeon (lake) holes - it was just bloody good songs, well written and brilliantly played. It was totally different thing from what I was attempting to play with The Soul Destroyers and I had lost all my funk 'chops' in the intervening period - chops? - that's jazz talk for playing technique in case you were wondering.

As I sat, confused and head scratching - my mobile phone rang - it was Matt who asked me for Bryn's telephone number. I was a little surprised, as although Bryn has come along to a couple of Matt's solo shows here and there, I had got the impression that the atmosphere had not returned to 'laugh yourself sick' days of Mother Earth. Neil and Chris I know had not spoken to Matt for some time - probably years.

"I've been listening to some old Mother Earth tapes and I want to do a gig" he said.

Not being technology minded (I play organ for gods sake) I could not work out how to retrieve a number from my phone and talk at the same time.

"I'll get him to call you" I excitedly replied.

Before ringing Bryn at home with this unexpected, happy bombshell, I reflected on how unlikely it seemed, but then just broke into the broadest grin and actually laughed out loud.
I remembered just how great that band had been. How I had nearly broken ribs laughing at their outrageous humour and the thought of them getting back together seemed to me a quite strange but very good idea.

When I called Bryn and told him what Matt had just said to me, I heard an unmistakable short sharp intake of breath - the kind you make just before punching the air and shouting 'YES'! Bryn didn't actually punch or shout, but he sounded as surprised as I had been, but ultimately over the moon. I knew he missed being in that group, as I'm sure they all did.
Many times over vodka and 'jazz Woodbines' at what we laughingly called our Hammond Organ Appreciation Evenings he had told me about offers of playing in other groups but couldn't get excited about it all because 'it wouldn't be like Mother Earth'.

But if any further proof of the greatness of this band was needed, then heed this next part of the tale:
After Matt & Bryn had spoken, excited phone calls were exchanged between all the band and other interested people which resulted in two hastily booked gigs at London's Jazz Café and three days of rehearsals also arranged.

I would have given my right arm to be at the rehearsal studio as the individual members of the group assembled in the same room for the first time in five years. A set list was worked out and agreed.
It must have been a case of " One …two…three…four.." and they're off.

A virtually perfect run through followed!

The next two days of rehearsals were promptly cancelled and they pissed off to the nearest pub! You see? Proof of genius at work!

The two Jazz Café shows quickly sold out. Although there had been a time I would have put money on it never happening again, I found myself, once more, in the bands dressing room, somewhat intoxicated incoherent with laughter, with my ears ringing with the first signs of tinnitus from the sheer volume of the utterly fucking superb gig I had just witnessed along with the hundreds of other Mother Earth fans, who had just had all their Christmas's and birthdays rolled into one.
Brilliant.

Hang on - this is where I came in…………

Er………..Briefcase?

Greg Boraman
London
2002

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I need to say a massive, huge PLACE to the following, whom without most of the above would not have happened at or been so utterly hilarious when it did:

Chickie Harliss and his fish & chip paper dance - Tony 'Mega' Morrison - Uncle Fancy - Brian Auger - Nanny - Weak Loaf - Ricky Ricketts - Bollaface - The Average Shite Band (Pick Up The Faeces!) - Shauna Greene - John DeBrett - Bunyard - Zan - Sompson (?)- The staff of Radio Cheshire - Alex 'Binky' Bienkov - Pigeons Wrist - Barry the Soundman - Nandad - Chicken Tonight - Scotty & Benny Addison - Meryl Kenton Forbes - Monk - D.C Lee - Chaotic Dischord - Quality Europe FM - Randy Bumcock …..
The end is listless…..