Music Journalism

Back when I was working as an editorial assistant for a science publishing house, I got myself involved in writing and editing a Radiohead fanzine (this was back when they still good). I loved it – going to gigs, writing reviews, editing, taking photos from the pit with the real photographers, hanging out backstage with the roadies.

When I left publishing to go work for a popular music school in west London, one of my first tasks was to try to get editorial for the school in weekly music inkie, Melody Maker. At around the same time, the Maker was looking for new writers to contribute to its muso/guitars/amps section, The Works (formerly The Control Zone), so I’d sent in a copy of the Radiohead fanzine as my ‘audition piece’.

Thus it came to pass that I happened to finally get hold of the editor, Tony Horkins, to talk about the editorial my boss wanted at about the same time that Tony was reading my fanzine. Never got the editorial, but did end up writing for the Maker.

For nigh on two years I contributed features and photos to the Maker and a trade magazine called Total Production, and wrote news for Pro Sound News. It was a fantastic time, hanging out with bands and roadies, going to gigs, and lurking in the pit with the other photographers, but the pay and prospects were crap. The price you pay for doing work everyone else wants to do is that you don’t get paid much of a price.

I’ve put a few pieces up here, for posterity.