“Viola Lee Blues”

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I, after 43 years, decide to do what all the other members have done over the years. My Doppel album is doing well. I am at a stage now with my new music project where the whole feeling is that it has a mind of its own. Every time I come to work it just grows and grows. The five piano pieces that I wrote at the beginning of the year have now turned out to be the bones of the new album. I was born in Huddersfield, Yorkshire, England, 1950.

My full name is William Lee Currie. At a very early age I sang a lot, becoming aware that I had a keen ear for music. My cousin bought me a guitar when I was ten and it “blew my mind” to see that the melodies, I was singing, could be played by changing the length of a string with my fingers! 1961 was the year that I took up the Violin at school.

I also sang in the choir performing with the “Huddersfield Choral Society”. The following year I was in the school orchestra, and as I did so well, I was informed that there was a chance for me to get a place at the Huddersfield School of Music. This was a chance I would die for, so it only seemed a minor setback to be told that I would have to change over to the Viola. Changing over was quite confusing, because of the different Clefs, but I made the grade and secured a place at the Music College in 1965. Composition and Harmony was also taught. Playing the Viola had it’s perks, it meant that I was invited to play in the best string Quartets!

Viola section in the orchestra and performed in a Viola, Clarinet and Piano trio with a friend. In the second year the Music College moved to a new and fantastically well equipped building. I thought it was very radical, back then, when I heard the last movement of the Bartok fifth quartet. Bartok starts up a southern American style, down home, hillbilly type country vibe which deliberately goes way out of tune just before the end of the piece. He also belts out a blues riff like a rock band. This was a very full and stimulating time of my life!

Herbert Whone, my Viola teacher was also a painter. Being more used to string playing it wasn’t a natural, immediate affinity with the keyboard. Playing the piano started me off composing though. It was an interesting and elevating position to view things from. The idea of improvisation amazed me. Orchestral players have to put the sole of the composer into the music at the time of performance. Composer and performer, giving himself the freedom to explore inspirational moments, and change the form immediately if he felt the need.

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I noticed that some Rock bands where getting, for themselves, the best of both of these two worlds! Moving up to 1969 things became a little intense! I achieved what I was at college to achieve by getting a place at the Royal Academy of Music in London, but I decided not to go. The amount of training that a musician goes through to get into a top orchestra is phenomenal!

If I had gone on to the Royal Academy it would have been an extra five years of training making a total of nine years. The crossover music of Terry Riley intrigued me at this point. A drummer friend of mine, from Huddersfield, called Wayne Goddard had been working with “The Graham Bond Organisation” in London and was leaving and setting up a new band! I impulsively joined this band and found myself “getting it together in the country” at a beautiful house in Norfolk. After I had done a lot of improvising that year I found that I wanted to move on.

“Viola Lee Blues”

I had experienced a little of what it could be like to be in a successful band but it wasn’t the kind of music I really wanted to make. In 1970 I moved back to Huddersfield and found myself getting involved in a Fringe Theatre Group put together by a drama teacher from the college called Barry Edwards. This was an experiment made up of four musicians and four dancers. This was an occasional project so I went to live in Bristol where I joined a band called “Flash Gordon” The guitarist was the guy who later had some success with “The Only Ones” This was my first disaster!

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At a gig in Birmingham I got blown of stage. The Who” and played as loud! This was a big lesson, which stood me in good stead later when I could afford decent equipment! I moved from Bristol to Bath and started working with a singer who also played guitar. This was in the Tim Buckley and Van Morrison vain. We wrote songs together with me now playing acoustic Piano as well as Viola. This was the first time that I played the piano at gigs.

My classical style piano playing worked in a very interesting way with his soulful voice! This guy was called Jeff Starrs, he later recorded an album on Virgin Records with a band called “Interview”. I met him in East Grinstead when I had a brief flirtation with the Scientologists. Hawkwind” at Bradford St Georges Hall. In 1972 Ritual Theatre got back together and performed in Holland.

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We also performed at the Edinburgh Festival, Sheffield Crucible, I. I was playing music in a very theatrical environment. The expression of the music through my body became a very important part of performing for me. I incorporated this experience, later, into Ultravox.

“Viola Lee Blues”

“Viola Lee Blues”

I remember being in London later that year and we were all waiting nervously to hear whether we had got a grant from the Arts Council. All the money for the study of Ritual went to Peter Brook. This man had been studying Ritual for years and “there it is! We just weren’t credible enough for the Arts Council! I quit the group, deciding to concentrate on music. Ritual Theatre started dancing on stage to the music of a new band from London. This was 1973 and I had, again, moved back to Huddersfield and started working as a paste-up artist.

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A phone call from Ed made me get my skates on and I moved back down to London. Ed introduced me to John Foxx the singer of this new band called “Tiger Lily”. The music of the band sounded very refreshing and new! It was tough and stripped down to the bare essentials.

There was no improvisation at all, but that was the stance! One track had a very sensitive feel of classical music. This was a project I could really get to grips with and take part in its development. We worked hard rehearsing four nights a week and all day Sunday.

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I worked in a warehouse at this time, which was a lousy job, but I new we were going to get somewhere with this new kind of music! At first I just played the Violin. At the rehearsals I stood there doing nothing most of the time. Violin wasn’t needed on every track and I agreed with that! In 1974 we got a chance to do the soundtrack to a soft porn film called “Ain’t Misbehavin” This was released as a single and the money went to buying an Electric Piano.

Even though it sounded pretty awful I was able to get right into the heart of the writing process which now did include some improvisation. We met Steve Lillywhite who worked in Phonogram studios, London. When no one was using the studio he invited us in to lay down our new songs. After a year we had good demos for about twelve songs. This was 1976 and Island Records signed us. As part of the deal Steve came along as house producer.

It took till “Systems of Romance” for our music to really take shape and become more focused. As the album title suggests it was sensitive and electronic at the same time. We had finally found something that we could truly call our own against all the odds. Credit to Island records for sticking with us this far but because of low sales they had to let us go! 1979 started out with our first tour of America.

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We were getting good responses but all this was overshadowed by the fact that we had no record deal and our vocalist “John Foxx” was going solo on our return to England. I had become a bit of a survivor by now so I put myself about looking for a gig. They sounded too much like Ultravox so I passed on this project. I suggested using it when Visage, at mix stage, realised that we were short of tracks for the first album. Midge put the vocal part on top.

Ultravox signed to Chrysalis records U. 1981 – Visage released the album The Anvil. Ultravox released the album Rage in Eden produced by Conny Plank and Ultravox. 1983 – Ultravox release Monument – The Sound Track Produced by Ultravox.

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1984 – Ultravox release Lament produced by Ultravox. 1985 – Ultravox perform at Live Aid Wembley Stadium London. 1988 – I release Transportation produced by myself. 1989 – Steve Howe recorded his “Turbulence” album in my Studio.

“Viola Lee Blues”

I put together a new band called “Humania” no record release. 1990 – I work on Stand up and Walk. 1991 – I release Stand up and Walk produced by myself. 1992 – Recorded the Ultravox album “Revelation. 1993 – I take part in a German film project dedicated to the late producer Conny Plank. 1995 – Worked mostly on my own this year.

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I also travelled to Brussels to work with the violinist Blaine. 1996 – Early this year I toured Germany performing the music I had written with the Tuxedo Moon Violinist. We also did one gig at the “Garage” in London. 1997 – After soaking up the experiences of the last few years I felt the strong urge to start writing another solo album. So I moved into a West London Studio to make a start on what was to become Unearthed.

Started writing new material with newly acquired digital recording equipment. 1999 – Continued writing new material. Started work on the music for a short film called “The Fragile Skin”. Also “Tekapo Blue” the lost track from “Transportation. 2001 – The release of “Transportation”, “Stand up and Walk”, “Unearthed”, “Keys and the Fiddle” on my own label. Continuing work on a new album. 2002 – My album “PUSH” is completed and released in October.

“Viola Lee Blues”