Martin Phillips’delightful memoir of growing up in a South London suburb in the Sixties. It’s not all Sex, Drugs and Rock and Roll you know. There was The Beatles as well.
Martin Phillips’ memoir, published by Amazon earlier this year, has been the surprise hit of a packed schedule of Lock Down reading since March. It’s a delight. A gentle, reflective and funny account of his early years in the Sixties in the London Borough of Bromley, it charts a boy’s coming of age to a soundtrack of pop and rock classics of the era. By the time he leaves, guitar metaphorically strapped to his back, to begin adulthood and independence as a trainee teacher, the decade is on its last legs. There is a powerful sense at the end of the book that the times they are a’changing. His first day at college, in a delicious piece of serendipity, was the day The Beatles released Abbey Road. The innocence of The Sixties was over and we would never see anything of its kind again.
The music punctuates the book like a string of pearls. From Love Me Do in 1962 to the aforementioned Abbey Road in1969, the book covers many of the major releases in that extraordinary 8 year period of innovation and revolution, and delightfully, some of the minor ones (Blodwyn Pig anyone?). Phillips continually returns to The Beatles as the lode stone of the times, the golden thread that ties his early memories together, and the book creates a wonderful sense of what it must have been like to experience it at first hand, rather than, as most of us did, in retrospect when they had been afforded the status of cultural icons.
This, I think, is one of the major achievements of the book, one even more important in these dreadful days of officially sanctioned, improving, civilizing culture. OFSTED and the New Brutalists have a lot to answer for, with their laughable misreading of Pierre Bourdieu’s ideas on Cultural Capital. In their hands, Culture becomes a means of civilizing the savages on the estates and rescuing them for the poverty of their familial and community horizons. It’s a way of saying, over and over again to working class children, you are really not good enough. In Phillips’ memoir, the music of the time was throwaway, low brow, and frowned upon by the great and the good. And, as a result, it was essentially thrilling and deviant and belonged to the people who consumed it avidly as a marker of something new and liberating. We didn’t know it at the time, but in living our ordinary lives, the stuff we liked would become immensely significant culturally and historically in the development of ideas and the challenging of conventions. We don’t seem to know it now, either, but the things that the High Priests of Cultural Absolutism now scorn will be venerated by future generations.
So we have fabulous tales of seeing Fleetwood Mac at The Eden Park Hotel, Led Zeppelin and Jimi Hendrix at various pubs in South east London, as Phillips dabbles with acoustic and electric guitars in a series of not-quite-making it bands. An early forerunner of the Glastonbury festival, The Festival of the Blues at Bath Recreation Ground is attended, with an incredible line up of Fleetwood Mac, John Mayall, Ten Years After, Led Zeppelin The Nice (and that’s just the first few acts) compered by John Peel. There are the first tentative wide-eyed trips into continental Europe, the first faltering steps on the path of love and sex, all described with a freshness that conveys the vitality of those first experiences that live with us all for the rest of our lives.
A major pleasure of the book is his description of his life at school, from the end of Primary to the end of A levels, and the enduring friendships that were made with a series of sympathetically drawn characters who become partners in crime as Phillips negotiated his way through the tricky terrain of adolescence in the suburbs. He is splendidly dismissive of some of the teaching he received at his boys grammar school, which should serve as a welcome rebuttal of those who glorify the good old days and yearn for the days of standards and rigour. Hmm. The teacher who set exercises to do in silence while reading his novel at the front of the class, I suspect, was much more common than current educational mythology would have us believe. It was certainly not the model that Phillips used in his long career as an English teacher, Senior Advisor for Devon, Senior Coursework Moderator for the AQA and Educational Consultant.
Finally, for those of us of a certain age, there is the added pleasure of those other incidental cultural artefacts that make up the warp and weft of life lived. Watneys Red Barrel, The Moon Landings, The World Cup, The Beatles doing All You Need is Love live on the telly. Four channels, Crackerjack, Vesta Chow Mein, Derek Underwood at The Oval, playing out all day. Just the names alone will send shiver down the spine of anyone who was there.
If you’re a teacher, if you like contemporary music, if you are of a certain age, if you like social history, if you enjoy a life well told, then this book is definitely worthy of your attention. Buy it, read it, and then tell your friends to do the same. They say that if you can remember the Sixties then you weren’t there. Martin Phillips remembers the Sixties and he most definitely was there. And because of his vivid retelling, so can we be when we read his marvellous book.