Tractor

The town of Rochdale is a modest industrial community nestled in the foothills of the Pennines, a town which has seen better times in the past and whose prosperity was in large part due to the textile and associated engineering industries which blossomed in Lancashire at the time of the industrial revolution. It was in this sleepy setting and at the end of a decade known as the sixties that our story has its roots.

Enter Brierley, Clayton, Milne and Batsch, at the time schoolboy friends. John Brierley, lemonade drinker and electronic wizard, was assembling various recording machines 'out of bits and pieces of old washing machines' (quote: John Peel) in his bedroom when the idea took him to enroll the help of schoolboy musos the Way We Live to test the setup he had lashed together. A setup which was to evolve into Rochdale's Cargo Recording studios - but we jump ahead of our story. The Way We Live was a beat group, started in 1966 by Jim Milne and Steve Clayton together with Michael Batsch on bass guitar and Alan Burgess on vocals. The line-up later became Jim, Steve and Michael (Slim) Batsch only and finally Slim left and Jim and Steve concentrated on recordings with John Brierley. Alan Burgess still retained some interest as a friend of the band and, in fact, took the sleeve photos for the first Tractor album.

How to describe Jim and Steve? Their first album sleeve tackled the job rather well, 'Jim Milne is the musical and physical giant, his is the only voice you hear, he plays guitar and wrote all the numbers and collaborated with Steve Clayton on the musical arrangements. Steve Clayton is the quiet poet, he is small in every respect except talent. He also paints and writes short stories.'

In no great expectation of greater things, Jim and Steve being undecided on future careers, a list of record companies was prepared and copies of the demo tape sent to each one. Steve had dropped out of the formal education system seeing its approach as too rigid, whilst Jim had gone perhaps to the other extreme and enrolled at Chester College of Education in a teacher training course in physical education.

In fact it was something of a surprise when, after a demo tape had been sent to John Peel's Dandelion Records, the next morning their man arrived on their doorstep. Clive Selwood, A&R man at Dandelion, had caught the morning train from London, contract in suitcase, in order to snap the boys up before anyone else. Somewhat taken aback by the gushing enthusiasm of John Peel no less, the boys signed on the dotted line.

Dandelion decreed that the material should be re-recorded and a name found for the band and album.

The first album was recorded in two days in a back street studio in London where Cream had recorded their first album. The album was then remixed at the Marquee, Wardour Street. The album went out under the title "A Candle for Judith" named for Steve's girlfriend and now wife. Steve and Jim decided to label themselves "The Way We Live" for their first album. The idea coming from the problem page in a much read journal by the boys, "Woman's Own".

The album was released on the 29th of January 1971 to almost universal acclaim. In fact, in one review, Al Clark of London's "Time Out" magazine (now press officer for Virgin Records) was so enthusiastic that his review was quoted on the cover of the next album. He described "A Candle for Judith" as 'urgent, lyrical, of staggering depth range and eclecticism.'

One track from the first album 'King Dick II' was released on a sampler EP, with Principal Edwards Magic Theatre, Stackwaddy and Siren (Kevin Coyne). Incidentally the cover photos for the first album were taken by the hairy monster himself - Dave Lee Travis.

Although off to a good start the album took a long time to get into the charts and never really took off as Dandelion expected. Peel and Selwood were enthusiastic and pressurised the boys for a second album and perhaps a more earthy name. John Peel suggested a possible name to toy with - "Tractor" perhaps? Tractor it was.

Clive Selwood (who was to keep trying to turn band in this direction throughout their career) suggested a commercial single. "Stoney Glory" was the first release as Tractor, on a maxi single with two other songs.

The second album, or the first as Tractor, was recorded in Dandelion Studios, Edenfield Road, Rochdale. Dandelion Studios (a predecessor of Cargo Studios) was in fact two ferrograph tape recorders and one Allen & Heath six channel mixer in John Brierley's attic. Jim and Steve were, in fact, miked up playing guitar and drums in the bedroom. It was here in 1972 that the Tractor album was pieced together, Clive and John went apeshit, the reviews went over the top once again, and this time the favourable reviews got through to the public who bought in bulk.

The album took off like a "Saturn Five on speed"; from its release at the end of 1972 it took until the 27th January 1973 to reach No. 19 in "Kid Jensen's Hot Heavy 20" on Radio Luxembourg, one place above Uriah Heep's "Magician's Birthday". That week it was also No. 30 in Virgin Records top-selling albums.

Meanwhile, work went on rehearsing for a series of live gigs to follow on the success of the second album. The first ever Tractor live gig (performing as a two-piece) was at Heywood Civic Hall. This was followed by a gig at Rochdale College.

It was at the Rochdale College gig that the band first met the social secretary Chris Hewitt. Obviously impressed with the band he used his influence to get the band several gigs both at the College and supported Mike Heron at Rochdale's Champness Hall. Chris was later to become manager for the band.

Within the original trio though things were not going smoothly. Jim and John were having strong arguments about future directions, neither wishing to compromise their high but different standards. These arguments came to a head at a gig at Rugby where John Brierley left the band and set off on a career as a recording engineer which was to culminate in Cargo Studios. The sound engineer's seat was taken by Alan Burgess (one time vocalist for an early band with the boys at Balderstone School) and now photographer for the second album cover. With John Brierley leaving and setting his own studios up on Drake Street, Rochdale (still in a bedroom at this point), Tractor - Jim, Steve, Alan and Chris, now built their own studios in Dawson Street, Heywood using an Allen & Heath mixer, two Revox tape machines and one ferrograph tape machine which they used to record both themselves and several other local bands.

Clive Selwood still maintained his interest in the band supplying several live gigs through his wife's agency. Disillusioned with the record company problems and still determined to produce their own music, they carried on working on new material at Tractor Studios, Heywood. Up surfaced Clive Selwood now working for Jonathan King's UK Records and practically their only possible contact in the record business. Clive came to see the band working at their own studio and he left the same evening with the master tape for their next single. The single "Roll the Dice" was a hype on Reggae (Ken Booth was No. 1 at the time) and although Jonathan King raved about it, it fell like a brick from the Town Hall roof. Too adventurous for Radio One!

It seemed like this was the end of the road for Tractor, no contract, no interest, no future. Jim became a father and didn't want to gig. Steve converted the recording studio into an art studio and the equipment was split up. Chris Hewitt went to London and got a job with a PA company working for Ian Dury, East of Eden, Motorhead, Carol Grimes etc.

1975 was the fallow period during which very little happened except Jim, missing gigging, joined a cabaret rock band in Liverpool and Steve Clayton focussed his attention on painting. It all seems to have picked up again in the Summer of 1976 when Chris Hewitt, older and wiser from the London music biz, returned to Rochdale eager to liven the town up.

"Tractor Music" was launched (music shop, P.A. hire company etc). Tractor Music's first premises were on Oldham Road, Rochdale and comprised music shop and rehearsal room, (the shop was eventually combined in another building with Cargo Studios nearer to Rochdale's town centre - a music shop and recording studio still occupy the initial site much expanded by Chris Hewitt and John Brierley through the 1970s and 1980s). It wasn't long before Jim and Steve were rehearsing for another line-up; this time they added a bass player, Dave Addison, who had already done session work a year before for another band at Tractor Studios, Heywood. Tractor as a two-piece had never done a satisfactory gig and a bass player was a must.

One of their first gigs together was the September 1976 Deeply Vale Free Festival - a phenomenal gig and a foretaste of the coming storm. But yet again here creeps in another hiccup in the band's career. The heady, easy-going atmosphere of Deeply Vale brought out the hippies in their hundreds. Kaftans, dope, long hair, one could almost have been in Hyde Park during the Summer Of Love, 1967. Attendant with all other artifacts of the hippie culture were certain mind-blowing substances. Independent observers reported the siting of the largest cloud of dope smoke ever seen in the North West. Dope casualties stagger around with enormous grins on their faces reciting the phrase 'far out man' at the slightest provocation. One of the casualties was Steve Clayton who had to be carried to his drums. Steve left the band and resigned his partnership in the shop after this gig.

Determined to carry on, Jim and Dave recruited Brent Whitworth, for a short spell in the band until Steve Clayton was coerced into rejoining at a Christmas party jam session. For the next few months Tractor (with Steve Clayton) played every bar, pub and club in the area with each gig getting tighter, punchier and more powerful. With a growing army of hardcore fans the new Tractor moved from strength to strength, they were regular bill toppers at Manchester's "Electric Circus". With a touch of regret, Jim and Steve realised they should have done this when the first albums came out.

In the Summer of 1977, May to be exact, they renewed their acquaintance with John Brierley, recording a single - still on two-track - at his house on Drake Street (the early Cargo Studios). John recorded, financed and released a single "No More Rock 'n' Roll" on his own Cargo Records. This came out in time for Deeply Vale 1977 and was another high spot in the band's career. This sold about 600 copies both locally, and to Virgin Records shops all over the country, and was in the NME alternative chart as 'home released' singles were becoming popular with the advent of New Wave. Hence his appearance on the "Streets", Independent/New Wave sampler album.

1978 was a non-event year for Tractor, as was 1979; Dave Addison went abroad with a cabaret band, Jim Milne played bass in a Liverpool band, Sneax with keyboard player and friend Dave Goldberg who will crop up later in the story. On Dave Addison's return from abroad, he joined Accident on the East Lancs (the band fronted by Andy Sharrocks - a friend of Chris Hewitt's - and Tractor fan since his dad was involved with the band during The Way We Live days). Also in Accident on the East Lancs was Kieran Miskella on guitar who was a roadie for Tractor in 1977 and, again, crops up later in the story.

Andy Sharrocks, Kieran Miskella and Dave Addison released a single on Andy's own label from Accident on the East Lancs. 'We Want It Legalised' came out on Roach Records. Andy later sacked Kieran and Dave and hired a younger band for his next single ("Backend of Nowhere" on Roach Records).

	Tractor DVD Beyond Deeply Vale To buy this DVD click here

1980 was probably the start of the most aggressive period in Tractor's career, a gig was recorded live with the 1976 line-up of Jim Milne, Steve Clayton and Dave Addison with the addition of a second guitarist for one number only: "Purple Haze", the encore. Tony Crabtree, an excellent blind musician, was to become session keyboard player on 1980/1981 studio work after his guitar work at the live gig. Tony had his one single out on Virgin under the name "Cry" and the B-side became a song in the Tractor set for gigs in the 1980's 'Policeman's Blues'.

Some of Jim's best songwriting came from this period and "Average Man's Hero" was recorded as a four-piece with Tony Crabtree on second guitar and keyboards. Even Factory Records/New Order contributed to this single with the loan of a Polyphonic Synch (a reasonably new concept at the time). "Average Man's Hero" was the sort of single Tractor should have put out in 1973/1974 to point the way to the future but we digress. Chris Hewitt financed the single through Tractor Music but labelled it with Andy Sharrocks' Roach label now with a roster of two Rochdale bands. The raunchy single with a picture sleeve is now selling at BP3.50 in the 90s and is only let down by its 1975 B-side.

Dave Addison left the band in 1981 and former roadie and "Accident" guitarist Kieran Miskella joined on bass guitar. Tony Crabtree did not turn up for some gigs and rehearsals so Dave Goldberg from Liverpool replaced Tony. Gigging was expensive in the 80s and so it petered out. 1983 saw the release of the Thunderbolt album, a reissue of the Dandelion album from 1972; the only involvement from Tractor was by way of the photos supplied by Chris Hewitt for the back of the sleeve but even this album got into the Sounds heavy metal charts.

That takes us up to the 90s and now the original Dandelion LPs are BP100 each in dealers' adverts and yet Jim Milne, Steve Clayton, Dave Addison, Chris Hewitt and Dave Goldberg never really got any real money from all the work through the years but it was and still is - good fun.

When Jim Milne rang Chris Hewitt in October 1990 (and told him that a Tractor fan had rung him to tell him that the Dandelion Tractor album was available on CD in Germany), Chris decided to test the market for some of the earlier Tractor vinyl releases he still had available, and was overwhelmed with orders by phone and letter from all over the world, from both record shops, radio stations and the public at large. Jim and Chris, delighted with the depth of interest and demand for Tractor material, decided to try and assemble all the unreleased material into some semblance of order, and so with the help of Addison and Goldberg, and with reference to Steve Clayton and John Brierley, the material was analysed.

Chris mentioned the tapes to Sunflower Records and a CD release was quickly under negotiation. Sunflower Records have been very enthusiastic and supportive whilst offering complete freedom to Tractor in the choice of material for the disc. There are some songs on the CD that have been out on vinyl before but their availability has been 'non existent to scarce' (such is the plight of small Indie labels!) This "Worst Enemies" album works as a natural progression from "The Way We Live" and the "Tractor" albums.

Original concept Gordon Leek. Edited by Chris Hewitt
Taken from the "Worst Enemies" CD, Ozit Records, OZIT CD 00019

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