How Not To Make It In The Pop World

By Author: john barrow
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HOW NOT TO MAKE IT IN THE POP WORLD
Announcing a great new book by Leicester tenor sax man JOHN BARROW. One of the journeymen of pop music. In a playing career spanning twenty five years he has played and recorded with world name artists which include: BOY GEORGE / CULTURE CLUB / THE FUN BOY THREE / IGGY POP / MUSICAL YOUTH / THE SWINGING LAURELS / JERRY DAMMERS / LAUREL AITKEN / THE CLASH / RHODA DAKAR (THE SPECIALS) / CRAZYHEAD / THE BEAUTIFUL SOUTH / BANANARAMA.
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John Barrow - How Not To Make It In The Pop World (Diary Of An Almost Has-Been)
John Barrow proclaims himself to be one of that all too un-rare breed of those who try to make a living from the music business and fail. John plays tenor sax and has sustained a playing career for over 20 years, albeit not always a paying one. Hailing from Leicester in the UK, John moved from band to band from the 70's ...
... thru to the 90's, and this is his diary of those days and the adventures he had. John Barrow is a real journeyman of the trade in all sense of the word. John's main claim to fame is his part in the group The Swinging Laurels, a band who could have been but never quite made it. The Swinging Laurels played an unusual combination of synth and brass, and received much critical acclaim. One of their near-miss singles also featured backing vocals by Boy George just after Culture Club went huge. They appeared on tour backing Culture Club, played as session brass section for Fun Boy Three on The Telephone Always Rings (one of their best tracks imho) and had a video produced by Midge Ure of Ultravox. On top of this they did numerous TV appearances either in their own right or as backing for others. There is a lot more to be told on this story and on either side of The Swinging Laurels. The story of how much luck plays on whether you make it or not, the commitment and hardship of trying to play for a living, the responsibilities of having a family and juggling work with your true love of music. The basic premise that holds this narrative together is timeless and is incredibly apt for a scene like the modern synthpop one where very few bands or artists are able to sustain full-time musical careers. John himself has no regrets about anything he has done, even though he admits it has cost him in financial terms at the very least. His story-telling style is very down to earth and he has a rich deprecating style that just seems at times to be like a conversation you'd have with your mates in a bar. At times he tends to namecheck and wander off on a tangent, but this is not a "look who I knew" kind of deal. John documents the times and puts his experiences into perspective with those around him at the time. He is never bitter and actually rarely has a bad word to say about anyone. I can't recommend this book enough. Anyone currently in the business of making music will recognise most of what has happened to John Barrow. Those who aren't can see what happens to those unlucky enough not to get the breaks. A hugely enjoyable read.
Reviewer: Si Wooldridge
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Related Link: Trafford Publishing