Mike: Does music run in your family?

Eddie: Not really - just me!

Mike: What are your earliest musical memories? 

Eddie: We used to have a piano at home in the early 50's and I used to attempt to play it.  Got the hang of it when I was about 9.  The music that I used to love hearing on the wireless was mainly easy-going stuff when I was really young like Frank Sinatra and Dean Martin, Perry Como and then people like Tennessee Ernie Ford, but then everything changed around 1956 when I first heard Elvis singing Heartbreak Hotel and that was it!

Mike: So after Elvis, what other rockers turned you on?

Eddie: Some of my favourite Rock and Roll 'Heroes' were Little Richard, who we toured the U.K. with in 1967, Ricky Nelson, and in fact most of the original American Rock and Rollers! I always liked James Burton as a guitar player.  Fats Domino was a bit of a favourite and Carl Perkins.

Mike: Did you get to see Gene Vincent live?

Eddie: Yes - in London in the late 50's just after seeing Buddy Holly at the same venue.

Mike: Did you ever see Eddie Cochran?

Eddie: I can?t remember seeing him.

Mike: How do you rate his guitar playing?

Eddie: Top-man.

Mike: Can you talk about that tour with Little Richard?

Eddie: Yeah it was in 1967 started it with a T.V. show called Ready Steady Go.  Little Richard knocked me out - he was such a good performer.  He signed the back of my Gibson which was on it till the day I sold it to Kenny Pickett and that was because his son had knocked it over and broken the neck!!   We toured up and down the U.K.

Mike: That guitar (Cherry Gibson ES-335) was kind of a trademark for you.  What happened after you sold the broken one to Kenny, did you replace it with another 335 or is that when you switched to the Strat?

Eddie: As far as I recall, I sold the Gibson to Kenny in about 1973 and then bought the Strat in 1982.

Mike: How you did start playing the guitar?

Eddie: Mike, it was so long ago, cant hardly remember, but I think my first guitar was one I made out of a piece of wood I found in the shed, but I couldn't get past the first fret on it!!    The first 'proper' guitar was an F hole acoustic, which cost me ?4.00 out of my pocket money which I got by doing a car cleaning round!

Mike: Can you give us a rundown of your personal choice of guitar history?

Eddie: If you mean which guitars have I owned, first guitar I had I made - I mentioned that before.  After that I had F. Hole acoustic:  first electric guitar was a Burns Weil, two pickup, weird shape, then it was a Futurama, which looked like a Strat.  Then came the 335 and in the 70's, I had various cheap guitars - this was the beginning of the 'look-alikes'.  For various recording sessions, we would rent in expensive guitars, then got the Strat is '82.  Since then I've had various guitars and at present have got 2 Strats, 1 Fender Performer, 1 Ozark slide guitar and Eko 6 and 12 string and 4 other acoustics, a 5 string Banjo and a Mandolin! - my next project is to make a psychedelic version of Duelin' Banjos !!! - Nearly forget, my Di-Armond which is like a Gretch Silver Jet. - nice sound with the heavy gauge strings I stuck on it, tuned to bottom D.

Mike: Who are some of your other favourite guitar players?

Eddie: Apart from Scotty Moore and James Burton, I liked Ry Cooder's slide playing and Jimi Hendrix was always interesting!

Mike: What were some of the first songs and guitar solos that caught your ear?

Eddie: The first solo I tried to learn was James Burton solo on Ricky Nelson's "Its Late".  It took me 2 days to figure it out.  That was the first time that I'd heard anybody bend a string.  My first song on the guitar was probably a skiffle song, "Long Lost John" by Lonnie Donegan and the first instrumental was "Rumble" by Link Wray.

Mike: When and how did you first start writing songs?

Eddie: I started writing songs with Kenny while we were in the Mark Four, although my earliest composition was an instrumental in 1958.

Mike: Do you remember the tune or the title?

Eddie: Not really, but the guy I was with might - I'll try and see if he remembers anything!

Mike: Can you recall the earliest recordings you were involved with?

Eddie: That was also in 1958 and I can remember a recording studio in North London which resembled the Munsters house!  The doorman's name I believe was Egor and the guy who ran the studio looked like Dracula - we managed to record an E.P. with four tracks, one was called Shanendoah (I think that was the one I wrote) and the others were rock and roll covers of the day.  I think I still have the E.P. in my studio, somewhere!

Mike: Was that the Travellers?

Eddie: Yes.

Mike: Apart from that song, do you remember the first songs you wrote and can you name some of them?

Eddie:  My first published songs were with the Mark Four - Hurt Me If You Will, Going Down Fast, Work All Day and probably some I've forgotten about.

Mike: Who influenced you as a songwriter?

Eddie: I had no influences from any songwriter really.  When I wrote for the Mark Four, I was writing for the Band and we knew what we wanted as far as songs went.

Mike: What were some of your early favourite songs by others?

Eddie: There were loads!  A few were 'Queen of the Hop' by Bobby Darin...mainly anything by Little Richard and the Sun label sessions by Elvis and the others...Jerry Lee Lewis, Johnny Cash etc.  Then Sgt. Pepper - probably the best album of the 60's for me.  I also liked classical pieces, especially big choral works by Bach, and Handel?s Messiah.  I liked some blues songs - like John Lee Hookers' -'Dimples' etc. etc. I could go on all night, except it's getting late and this could be the question that sends you all to sleep!

Mike: Can you talk about the early bands you were in and the people you played with (pre-Mark Four)?

Eddie: The only band before the Mark Four was called The Travellers which started out as mates at school playing 'skiffle' and then went electric and got into rock 'n roll.

Sean S. (aka modgod1): Did you see anyone else before yourself play an electric guitar with a bow?

Eddie: No.

Sean S. (aka modgod1): How did you come up with the idea?

Eddie: I was looking for a sound like a long sustain as I'm talking about pre-fuzzbox days!  First tried with a hacksaw with a guitar string (wound) in place of the blade but that didn't work and my local music store at that time carried a range of all musical instruments including some violins - so it seemed a good idea at the time to use a bow! - the rest is history!

Sean S. (aka modgod1): Was the Mark Four a Mod group? 

Eddie: The band started out as an English Beat Group and ended up as a Mod outfit in 1965.

Mike: The Mark Four did Chuck Berry's Talkin' 'Bout You and a 15 - 20 minute version of Mona.  What other covers can you remember doing?

Eddie: We did Jimmy Reed songs, Howling Wolf and even did Bill Haley's Rock around the Clock (don't mention it to anyone!). 

Mike: Are there any tapes in existence of the original Mark Four live?

Eddie: I have a tape of the original Mark Four 1980's reunion gig.

Mike: The Mark Four also did a version of House Of The Rising Sun in which you made your guitar sound like an organ.  How did you do that?

Eddie: Yes I got that sound by using the vibrato on my Vox AC30, the Gibson on bass pick-up with the treble turned right down, hammer on the chords and increase the volume by hand just a split second after the hammer. 

Mike: Is there anything recorded that utilized that sound?

Eddie: I think I used this effect on Going Down Fast.

Mike: Is it true that Pete Townshend told you that he thought the Mark Four had the best sound he'd ever heard?

Eddie: He may have said that, but not directly to me.

Mike: Did you change the name of the band from the Mark Four to the Creation just prior to the release of Making Time?

Eddie: The Mark Four finished and Creation was formed out of that but Making Time was conceived purely for the Creation.

Mike: Who thought up the name the Creation?

Eddie: Tony Stratton-Smith.

Mike: Did the band ever refer to itself as just "Creation" or was it always did "The Creation"?

Eddie: Both.

Sean S. (aka modgod1): Was The Creation always a Mod band?

Eddie: Yes.

Sean S. (aka modgod1): What does Mod mean to you now and what did it mean to you back then?

Eddie: Then, it meant being part of the times and being at the centre of things.  Fashion and music often go together.  Now, it's great seeing kids following in that fashion.

Sean S. (aka modgod1): Do you still have any clothes from the old days of The Creation?

Eddie: I have a stage jacket that we wore on the Rolling Stones tour of Europe - it's white with 3 buttons and thin lapels, and I have a Levi jacket that was once Kim Gardner?s.  It was part of a swap we did, and somewhere, I still have an old Creation tee-shirt! - that used to be white!

Sean S. (aka modgod1): Can I have them!? :)

Eddie: Not yet !!!

Robert: What was it like being in a band back in the sixties?

Eddie: It was mad and crazy and fast and furious.

Robert: Can you list the bands and singers you shared a bill or toured with?

Eddie: We toured with hundreds of artists - a few were: Little Richard, the Rolling Stones, Cream, Walker Bros, The Who, Manfred Mann,  Long John Baldry, Pretty Things, Small Faces etc.etc. etc.

Ed: What are the favorite artists that you played with?

Eddie: Definitely Little Richard was the most dynamic.

Ed: What groups were cool to hang out with offstage?

Eddie: Didn't really hang out with other bands, just individual members of groups, like maybe we would meet in the Clubs.

Mike: Who were some of those individuals you hung out with or became friends with?

Eddie: Eric Clapton on the European tour of 1967, Jim McCarty of the Yardbirds, Mick Avory of The Kinks, - to name but a few!

Mike: What did you think of the ultimate Mod band - the Small Faces?

Eddie: They were very good.

Mike: Did you ever hang out with Steve Marriott?

Eddie: No, but I did some recording with him a few months before he died.

Mike: Was this the 1986 recording of All Or Nothing with Marriott, P. P. Arnold and Chris Farlowe?

Eddie: Yes.

Mike: What was Steve Marriott like as a person?

Eddie: Nice bloke, very talented and a huge loss to the 'business'.

Mike: How did you rate his singing, songwriting and guitar playing?

Eddie: All very good.

Robert: Any memories of good shows and bad shows?

Eddie: One good one was the Technicolor Freak-out at the Alexander Palace in North London and a bad one was when we had a stand-in drummer who had a drink problem and our set lasted 2 minutes. (Note: The gig Eddie is referring to was actually called The 14 Hour Technicolour Dream and was held at the Alexandra Palace)

Ed: What was the Creation's favorite place to play?

Eddie: Marquee Club or Flamingo Club in London.

Ed and Bobby: Can you think of any cool tour stories worth telling?

Eddie:  We were in Munich playing in a Circus Tent and our act got a bit out of control and our painting went up in smoke and so did the floor we were standing on resulting in the fire engines and Gestapo-like police raiding the joint, nicking our passports and told us we would never play Munich again!  So what!

Ed: Did you enjoy playing on the German TV shows Beat Club and Beat Beat Beat?

Eddie: Yes.

Ed: Was it difficult to deal with the shows directors and producers?

Eddie: No, they were pretty good.

Ed: How were the German crowds?

Eddie: They were good crowds to play to.

Ed: When the canvas paintings were ignited on stage, did things ever get out of control?

Eddie: Yeah - just like I said before in the Tent! - but it also happened quite often.
Ed: What was the reaction of the crowd and the clubs owners?

Eddie: Mainly they were o.k. about it.

Ed: Did the Creation ever play to a crowd that rioted?

Eddie: Yes, once we completely cleared a dance hall by our smoke machine when it went on the blink!

Ed: I heard the Creation played in Berlin.  Did they ever play in any of the East European cities or countries?

Eddie: No, I don?t think I can remember doing any others.

Ed: Were any groups tough to hang around with because they were jerks or they tried to sabotage your show?

Eddie: I guess we always tried to avoid people like that - you kinda know if people are cool or not but we didn't always get it right.

Ed: Did the Creation ever play on BBC radio?

Eddie: Can't actually remember yes or no! - could have been one of those days!

Ed: What was Shel Talmy like to work with?

Eddie: Very good professional person.

Mike: Did the Creation ever record with anybody else besides Shel Talmy?

Eddie: No.

Mike: Shel Talmy has sometimes been portrayed in a management role, any truth to this?

Eddie: Not really, Shel was always the Producer!

Mike: Did he decide which songs would be the singles?

Eddie: Yes.

Mike: If I Stay Too Long was released as an A side in England, Tom Tom was released as an A side in Germany and Nightmares was released as an A side in the U. S.  How Does It Feel To Feel was released several months earlier in Germany than in England or the U. S.  Also, How Does It Feel To Feel had a completely different lead guitar part on the U. S. version. Why the differences?

Eddie: A bit confusing this one - as firstly we didn't know of any release in the U.S. in the '60's but we probably had quite a few takes of How does it feel and they must have used an alternative for the U.S. because I would play something different on each one.  The others, I don?t know of any reason.

Mike: Who picked out the stage clothes?

Eddie: The Band except for the 1966 purple shirts, these were designed by Tony Stratton Smith.

Mike: Whose idea was it to use spray paint on a canvas as part of the stage act?

Eddie: Mine and Ken's.

Mike: What contemporary bands with visual stage shows where you influenced by?  The Who?  The Move?  Hendrix?

Eddie: None - I think it was the other way round.

Mike: Speaking of Hendrix, who influenced who in regards to the songs Hey Joe and Like A Rolling Stone?

Eddie: Not sure, we just liked the songs and played them in our own way.

Mike: The various line-ups of the original Creation lasted from 1966 to 1968. During this period, the average recorded output for bands was about three singles and two albums a year.  But there are only about two dozen Creation tracks from this period.  Is there much unreleased material in the vaults?

Eddie: If I find out, I'll let you know! I'm still looking for the vault - hang on, it seems a bit echo-ee in here!!

Mike: Was Sylvette actually an unfinished backing track for Leaving Here?

Eddie: I think it was.

Mike: Was the music to Biff Bang Pow influenced by My Generation?

Eddie: Not that I am aware of.

Mike: By the way, This Boy's Always Been True by the Herd was released in early 1966 and also had a similar chord progression to My Generation.  Did you ever hear that?

Eddie: No.

Mike: Reportedly, four songs were recorded in early '67: Peeping Tom (possibly Tom Tom); Private Hell (possibly Nightmares); Closer Than Close; & If I Stop Running I'll Fall Out Of The Sky.  Do you remember any of these and can you talk about them?

Eddie: I don't remember any of them under those titles, but that isn't to say that they don?t exist.

Mike: Can you think of any other unreleased songs from this period?

Eddie: No, but I had the idea for a song 'Red With Purple Flashes' in around 1967 and I have just finished recording this in the past few months!! It'll be on the new CD. - only took 36 years to write and record!!!

Mike: Sweet Helen is such a good song.  It was finally released by Edsel several years ago.  How did it remain unreleased for so many years?

Eddie: That's just one of the mysteries of the music business (those who know best).

Mike: Is that you singing the lead vocal on Sweet Helen?

Eddie: No, I think it's Kenny.

Mike: What Creation songs had you singing lead?

Eddie: Can I Join Your Band?, Ostrich Man and part of How Does It Feel To Feel.

Sean E: The song I Am The Walker has the lyrics "I hear the walker, the telephone talker, I see the man hanging onto the phone".  Well, is this from a dream/vision of the future in the time of cell phones?!  Or what?  What's the song about?

Eddie: The song is about I saw a man down by the river - he had a dog wrapped in a bag, I thought the man was going to throw the dog in the river but it was wrapped because it was bald. I am the walker.

Mike: On the subject of songwriting, how did you and Kenny operate as songwriters?  Did you sit down together and write or did you come up with songs separately and then get together to finish them off?

Eddie: I would always start a song with a melody and a chord structure of verses and choruses and sometimes, the title of the song, and then Kenny would take the tape and then come back with all the lyrics.

Mike: What about you and Bob's writing regime, the same or different?

Eddie: Yes, the same really.

Mike: Can I run through the original Creation song you co-wrote and have you comment on each?

Eddie: Not too sure on this - what exactly do you want me to comment on?

Mike: For each song title can you touch on one or all of the following:  the inspiration for the song, any stories surrounding the writing, recording or performing of the song, any memories that come to mind when thinking of or listening to the song now,  your personal assessment of the song - in other words how do you rate the song?, What personal things were happening at the time? (for example: "I met my future wife the day after I recorded that song").

Eddie:  I think Mike that this is a huge task that I would probably save for my book which I hope to do someday, but Making Time is still one of my favourites to play live.

Mike: A number of Creation songs seem to have melodies with a nursery rhyme quality to them.  For example, Painter Man, Tom Tom and Can I Join Your Band?  Was this intentional?

Eddie: Don?t think so - but it's an interesting question.

Mike: It was reported that Pete Townshend and Track Records recorded the Creation at London's Alexandra Palace "14 Hour Technicolour Dream" festival in April of 1967.  Do you know anything about this especially if the tapes still exist?

Eddie: No, but I'll bring it up next time I see him!

Mike: Also, apparently BBC-2 filmed and aired footage from the gig.  Can you remember that?

Eddie: No - I'll ask them.

Mike: It was also reported that the Creation recorded background music for a BBC documentary that was screened on "Monitor" in July 1967.  What can you tell us about that?

Eddie: I've no recollection of this - must have been a funny day!

Mike: Do you remember how this came about and what the subject matter of the documentary was?

Eddie: No.

Mike: Have those recordings survived?

Eddie: Haven't got a clue - but will ask.

Sean S. (aka modgod1): What famous people did you party with in the Creation days? 

Eddie: It's all a blur! but we rubbed shoulders with everybody who's anybody!

Sean S. (aka modgod1): The real question is do you have any funny stories about tripping on acid with Pete Townshend or something like that? 

Eddie: No, I met Pete a few times at gigs and didn't get together socially.

Sean S. (aka modgod1): Do you regret not joining The Who? 

Eddie: No.

Mike: Would you have joined if you were asked?

Eddie: No.

Mike: The most commonly repeated myth of your story is that Pete Townshend asked you to join the Who.  Do you have any idea how this rumour got started and does it bother you that it persists to this day?  

Eddie: Not sure how this started but Sean Egan recently asked Pete about it and I think, he replied, that he remembered something about it, so maybe he did and maybe he didn't. It doesn't bother me tho' - I'm still thinking it over!!!

Sean (aka modgod1): Are in touch with Pete Townshend or Ron Wood?

Eddie: No, haven't seen them for years, but if you get a chance, read Ron Woods' book, there?s a chapter on The Creation and it's quite funny and really sums up the craziness of it all!

Sean (aka modgod1): At the time, what did you think of other Mod bands, like John's Children, or The Action? 

Eddie: Never heard John's Children, and at the time neither had I heard The Action - we tried to keep our heads down and blinkers on!

Mike: Could you explain what you mean by "we tried to keep our heads down and blinkers on!"?

Eddie: We were pretty much wrapped up in our own 'thing' and never really got to see other bands, only the ones we would tour with, so Mike, heads down and blinkers on used to be an old saying coming from the days of horse and carts in old London Town, when the horses wore shields (blinkers) on the sides of their eyes so they would only see what was in front of them.

Mike: I'd like to ask you about another favourite band of mine, the Easybeats.  They were also produced by Shel Talmy in 1966.  Did you ever meet any of them in the studio or elsewhere before the touring Germany with them?  Can you talk about any encounters?

Eddie: Yes I do remember them - were they Australian?  Think I met them in a club once but can't remember the name of it.

Mike: Now what about the Rolling Stone tour of Germany that both the Creation and the Easybeats were on?  Did you get to know any of the Easybeats?  What about George Young who was the 'music' guy in the band?

Eddie: As above, can't really remember too much.

Mike: What did you think of the Easybeats as a band and what did you think of their songwriting?

Eddie: I thought they were a good tight band and did some good songs.

Sean (aka modgod1): Have you ever wondered if you had worked more in England and less on the Continent, that the Creation would have cracked it and become as well known as The Who, The Stones and the Beatles? 

Eddie: Yes, I have wondered and I think we may have made it bigger here than what we did.  Obviously, it would have been interesting to know how far we could have gone if I had stayed with the band longer but I suppose everybody wonders what might have been - if!

Mike: Can you talk about the various line up changes and the reasons for them?

Eddie: It was all personal stuff and looking back can't think why the changes were made but at the time I suppose we had our reasons.  Maybe it's time for me to think about writing 'the book' !

Mike: What were your reasons for leaving the Creation?

Eddie: Personal reasons and tired of earning nothing!

Sean S. (aka modgod1): What caused the Creation to end? 

Eddie: Not enough commitment from everybody involved including management.  Had we known then what we know now things would have been different.

Mike: Is it true, as has been written, that you all hated each other?

Eddie: No, just got a little tetchy at times!!!  We never got physical.

Sean S. (aka modgod1): Where and when was the Creations last gig?  

Eddie: My last gig was some place in Germany but after various line up changes, they carried on and played the John Lewis Club in Oxford St. London.

Ed: What (in your opinion) was the best line up of the Creation?

Eddie: The original.

Ed: Any regrets about the Creation?

Eddie: Shame we couldn't take it further, but this band has a history and a life of its own which we proved last year with our tour of the East Coast of USA.  It was the best line up we could put together and it proved the longevity of the songs and our style. So the answer to this question is no.

Sean S. (aka modgod1): What did you do in the months following your leaving the group?

Eddie: Took a couple of months off.

Mike: A little off the beaten track, I received an inquiry from a writer who is working on a book on the band Uriah Heep.  He wants to know if you remember playing at the Marquee or elsewhere with any of these pre-Heep and/or related bands: The Stalkers, Spice, Jimmie Brown Sound, The Gods, Toe Fat or The New Nadir?

Eddie:I can't really help you much with this one .

Mike:  Do you happen to have any old Marquee flyers or gig bills from the late 60's mentioning any of these bands?

Eddie: No sorry.

Mike: At some point you played bass guitar in P. P. Arnold's touring band. How did this come about?

Eddie: Kenny was driving Pat around and he called me up and they offered me the gig.

Mike: When was that exactly and how long did you tour with her?

Eddie: Think it was beginning of 1968 and the tour was about 1 year.

Mike: What was it like backing up P. P. Arnold?

Eddie: Good.

Mike: Is P. P. Arnold's voice as powerful live as it appears to be on record?

Eddie: Yes.

Mike: To my ears, there are two P. P. Arnold recordings that have a distinct (or possible) Eddie Phillips guitar sound, Angel Of The Morning and Am I Still Dreaming.  Did you play guitar on either of these recordings? 

Eddie: I played bass on Angel of the Morning (I think) but can't remember playing on the other one.

Mike: Did you do any other studio recording with her, guitar or otherwise?

Eddie: No.

Mike: Do you have any particular memories of working with Pat, funny or otherwise?

Eddie: She liked my car that I had at that time - it was a Ford V8 Pilot and I used to turn up to gigs in it sometimes.  It made a change from her Bentley which her husband used to drive her in. 

Mike: If you had to sum her up in a few words what would they be?

Eddie: She is a great artist and a very nice person.

Mike: Was it right after working with P. P. Arnold that you started driving a London bus?

Eddie: Yep! the 60's were coming to an end and I felt artistically burnt out so I went and got a 'proper' job, - as the saying goes!

Mike: And how long did that last?

Eddie: About 8 years, although I was writing and recording most of the time as well at home.

Mike: Did fans or musicians recognize you much when you were driving the bus?

Eddie: No - I kept my blinkers on!

Mike: Any funny or unusual stories from your bus driving days?

Eddie: Yeah - I always carried a portable tape recorder in my top pocket and as I got ideas for songs, I would sing into the tape as I drove the bus along Piccadilly.  Sometimes I got carried away and forgot to stop at the bus stops and what route I was on!! The passengers weren't too happy - they thought they were on a magical mystery tour!!

Mike: Were you still writing songs at that time?


Sean S. (aka modgod1): At the time were you aware of the 1973 Creation LP release on Charisma?

Eddie: Yes, at that time, I was recording some material for Charisma and was hoping the Creation album might do something fantastic.

Mike: What material were you recording for Charisma?  Did any of this material ever get released?

Eddie: I think some of the stuff did got released but don?t remember any royalties tho'.  Think one was City Woman.

Mike: In the mid-70's you recorded again with Shel Talmy and released a couple of singles on Casablanca in the U. S.  What can you tell us about this period?

Eddie: These were the songs I wrote on the bus!! 

Mike: How did you come up with the idea for Limbo Jimbo?

Eddie: In actual fact, it's a reggae version of Painter-man.

Mike: Can you talk about the writing and recording of City Woman?

Eddie: As I said, it was a 'bus' song and we had some great people on the session, Clem Cattini played drums, Tom Parker, piano, and Shel Talmy pushing the levers and buttons.

Blair: During this period was a band involved or was it strictly a songwriting partnership? 

Eddie: No, just songwriting.

Blair: If the latter, how did you go about shopping the songs? 

Eddie: Through the publisher we were signed to at the time.

Blair: Did you and Kenny have any other songs you wrote in the same period that were done by other groups?

Eddie: Most of those songs were for our own project - called Kennedy Express.

Mike: Can you talk about the following singles projects, the background on how they came to be?

Eddie: I'll have a go.

Mike: Got A Gun by Kenny Pickett?

Eddie: This was a song Kenny gave me the lyrics first then I wrote the melody around them.

Mike: Little Lolita by Kennedy Express?

Eddie: This was a song that I got the idea for complete with chorus and Kenny did the verses

Mike: Is There Life On Earth by Kennedy Express?

Eddie: This song I am particularly fond of.  Especially the counter part harmony.  I was helped on this by Steven Lipson who engineered the session.  Both this song and Lolita were recorded in my studio at home.

Mike: Life On Earth by Edwin Phillips?

Eddie: This is a weird one.  I once saw some horrific newsreel of a man burning to death at a football stadium fire while some of the opposing fans seemed to be jeering and I was so infuriated by this.  I thought that they must be the lowest life on earth and it was unfair to compare them to animals, as animals kill to survive and have no malice. - a bit deep this one!

Mike: Hail Superman by Men Of Steel?

Eddie: I've always been a big fan of comic characters and just figured I would like to write a song about Superman and had no idea at the time that they were making a movie and again, I had a go at the counter part harmony thing which worked o.k.

Mike: Can you talk about Space Invaders by Eddie and the Players?

Eddie: This was an idea Kenny had after playing the game in the 70's, which was all the rage.

Mike: The b-side is Penny Arcade, a country tune?

Eddie: Yes, it's an old style country tune but I thought kind of fitted the title and the idea was to incorporate into the melody the video game noises as the cowboy would walk and the fire the gun.

Mike: In 1982, a single credited to the Creation was released in France only on the Trema label.  The a-side was Alpha Beta and the b-side was Man In The Mist.  The art sleeve states that the tracks are from the album Armageddon.  Both tracks are produced by Steve Lipson and Eddie Phillips.  Steve Lipson has worked with Annie Lennox, Paul McCartney, Trevor Horn and others.  Both Alpha Beta and Man In The Mist sound very disco-y.  These seem to be part of a planned solo project called the Mitra or War Of The Worlds.  Other titles from the project are: The Void, Ocean Of Storms, Ramon Ramon, Enigma, Ave, Human Human, Between Two Worlds and Light Of The Worlds.  Most of these have circulated as instrumentals and overall sounding quite different to your other work (except for possibly Life On Earth 12" single released under the name Edwin Phillips).  It appears this was something you may have been working on for a few years.  However it was never released.  Can you remember the time frame for this?  Why and how did it end up on a French label (and credited to the Creation)?  Also, how long did you actually spend recording that project? What else can you tell us about it?

Eddie: This is an interesting subject.  I did the work with Steve and we worked on it over a couple of years altogether but that included all the writing I did at home in my spare time.  We recorded a lot of it in a studio in Knightsbridge. - think it was around the early to mid 80's and just before we got to finish it properly, Steve got asked to record 'Frankie Goes To Hollywood' which was a huge band in the making - so he had to stop our thing to do that.  Unfortunately, it stopped at that point and never got finished.  Don?t know how those tracks have ever got released in France - this is the first I've heard of that and why it was under the Creation name - heaven knows!!  But it just shows you that nothing is sacred in the music business and people will exploit anything - even a half-finished project!!
Mike: A Creation album was worked on in the mid-80's and at least eight songs were recorded; however only a single was released  (A Spirit Called Love backed with a new recording of Making Time).  Other tracks known to exist are Lay The Ghost, United, Radio Beautiful, Psychedelic Rose, Doing It My Way and Fall From Paradise.  Why was the album never finished or released?   What happened?

Eddie: The reason for this was the record company - Jet Records.

Mike: I read somewhere that Nick Lowe was going to produce a Creation album around the same time period.  Is that true?  

Eddie: He did produce a version of Lay the Ghost but the record company didn't like it.

Mike: Are there any recordings from these sessions 'in the vaults'?

Eddie: Yes

Mike: How did working with Nick come about and why didn't the album come out?

Eddie: Again - down to the record company but working with Nick was a real treat.

Mike: In 1985 you were on a new recording of the Small Faces' All Or Nothing along with Steve Marriott, P. P. Arnold and Chris Farlowe.  What memories do you have of that session?

Eddie: That was the first time I met up with Steve and Pat for a long time and it was nice to see them again.

Mike: Can you tell us how you got involved with Mike Ober and his Promised Land label?

Eddie: He just called me up one day.

Mike: A solo album called Riffmaster Of The Western World was released on Promised Land.  What was the genesis of that album?

Eddie: My idea of garage music this was, as I did actually make it in a garage!

Blair: I've always wondered about Teacher Teacher, a song you wrote with Kenny.  It became a hit for Rockpile around 1980.  I remember reading that you two had been co-writing songs again.  When and how did you get back together, musically speaking?

Eddie: Kenny and I were always in touch throughout the 70's and altho' we were both doing other things, we sometimes wrote together and Teacher Teacher was one of those occasions.

Blair: Did you send Teacher Teacher directly to Rockpile or did it get there via other channels?

Eddie: As far as I remember, Kenny was friendly with Billy Bremner and got the song to the band via him.

Mike: Were there any other songs that Rockpile were given?

Eddie:  I'm not too sure, I think that was the only one.

Blair: I assume you must have demo'd Teacher Teacher.  Did that (or any other songs they wrote and demo'd) ever get released? 

Eddie: My demo, I was particularly pleased with and I'll try and dig it out sometime, have another listen.

Blair: If not, what are the chances of that happening?

Eddie: Maybe if it sounds o.k. - who knows? I have some really good demos here, maybe there's enough material for an album.   It used to be a problem, as the demos would often sound better than the finished recording in the studio - that often happened.

Mike: Just to clarify, is the demo of Teacher Teacher different to the version that was released on the Riffmaster Of The Western World CD?

Eddie: Same format but I think my original demo sounds better.

Mike: How did the British Invasion Allstars come about?

Eddie: From Mikes' phone call.

Derek: What ever became of the British Invasion Allstars?  Can you elaborate more on the project (i.e. the year when it was done, etc.), and what Mike Ober's involvement was? 

Eddie:Mike Ober said he was a producer and I believed him!  nice guy Mike, cant remember the year and all the guys went their seperate ways after the recording.

Mike: How was it that Riffmaster and Allstars tracks were remixed and included with new tracks on The Yardbirds Experience?

Eddie: Mikes idea.

Mike: Around this time period you played on a Jim McCarty solo album.  What was that like?

Eddie: That was a nice thing to do with Jim.

Mike: Can you tell us about your other band from this period - the Cuckoo's Next?   How long did that band last or is it still going?

Eddie: Think its still knocking around somewhere but I haven't been involved in it for some years.
Eddie Phillips Q and A
Questions are by members of theWorldof_EddiePhillips_and_TheCreation mailing list. http://launch.groups.yahoo.com/group/theWorldof_EddiePhillips_and_TheCreation/