Showing posts with label Mill Hill Music Complex. Show all posts
Showing posts with label Mill Hill Music Complex. Show all posts

Wednesday, 5 March 2025

Where's your career? It's behind you! Oh no it's not! Oh yes it is... A new idea to transform the business or kill it!

So here's a little story for you. How my business changed our advertising strategy, saved £3-6K a year and got some brilliant customer engagement and how businesses are missing an open goal! It all started when the Pandemic nearly killed our business.

In hindsight, I massively screwed up my finances between 2012 and 2022. I invested a huge sum in my business, Mill Hill Music Complex, the plan being to get it to a point that I could sit back and let my team do the work, whilst sitting back, working part time as an executive director. We had big plans for expansion. It was all going swimmingly.  Then the pandemic hit. Just keeping the business going turned a highly profitable business into one on life support. Cash reserves built up for expansion were used to keep the show on the road. As they say, Man makes plans and God laughs. God certainly laughed at our plans.

We are now five years on from the pandemic descending. The pandemic destroyed our core business of old, fat blokes turning up with all their mates to play rock and roll and drink lager. Some died, some moved away, some just got out of a the 30 year habit and became hermits! In 2022, as we emerged from the pandemic, my assumption was that this core business would come back. It didn't. Of course we have plenty of the old customers, but whereas it was 75% of our turnover pre pandemic, now it is nearer 25%, we needed to build a completely new customer base, to replace the one we'd spent 40 years developing that melted away during Covid. It was clear that  our marketing strategy and growth plans had gone the way of the dinosaurs.  At the start of last year, we took a long hard look at the business and what we found was quite shocking. Everything was wrong. Nothing was working properly. Our website was out of date, our pricing policy didn't work for the post covid world. Our marketing budget was all being wasted. We'd lost four years. It is hard to spot such trends, without the data, but by early 2024, it was clear and the data was there, not least in the bank balance. 

So where to start? Well the first thing we needed to do was upgrade our website. This had been built in 2013 and was old hat. There is no point chasing new business when it doesn't work properly and is not fit for purpose. We wanted something that new customers would see and think "Yeah, this is looks like a pretty good studio". That took six months to get right. The next thing was our pricing policy. If you get this wrong, you lose customers. You have to tread carefully. We pride ourselves on being economical and good value. We could charge our premium customers a lot more and make more money, but that was never why we started the business. We want to take our customers with us. We did a lot of research and worked out how to restructure our charges whilst keeping our existing customer onside. When we put our prices up in January, we emailed our customers to explain why some would see a huge hike in costs. The response. Almost all were understanding and none complained. Having addressed the two biggest issues, we are now looking at our marketing budget. We have spent almost nothing on marketing since last March. 

We'd been spending around £3-6K a year with Google on Adwords since we rebuilt our website in 2013. We had got lazy and whilst it was bringing in customers, was it the best way to spend the money? This was a fascinating question. When it comes to advertising and actually working out whether things like social media engagement actually works, it is a very difficult thing to do. I sat down with the team and we came up with a radical idea. What is our biggest asset as a business? Our customers. We had a radical idea. Rather than give the likes of google our marketing cash, why not give it to our customers? Let them spread the message and pay them for their efforts? Having hit them with a big increase in some of our charges, we can give some of it back. Musicians have friends, many of whom are musicians, so why not give them a discount if they plug us on their own social networks. It is a great way to get highly targetted advertising. We did our first campaign in February and it was a success. Like everything, it needs some refinement, but it caused a buzz, got a good response and we are seeing more customers coming through the door. 

So how has it worked? Well for the period in question, we saw around a 20% increase in new customers registering on the system. We need around 25 new customers a week to keep the business stable. We have been well in excess of this for the period. It got me thinking, how many other businesses are switched on to this fact. It is a win/win. We cut the hit on our cashflow from paying multinationals, we generate goodwill with our customers and we get new business. Most businesses who have their customer details bombard them with offers, but far fewer actually get their customers to advertise their businesses for them. Let me give you an example. We are members of the Virgin Gym in Mill Hill. They are always bombarding us with offers, asking us to introduce a friend and giving us a free month if they do. But they haven't switched on to the fact that getting members to post on Instagram and TikTok how good they gym has been for them is worth a reward. Our little campaign in February was an experiment. It worked way beyond our expectations. This time last year, I was seriously considering joining my friends on the beach. At sixty two I am feeling re-energised. Maybe I should start a new, part time career advertising designing campaigns for other companies that are based on customer engagement. I have a great team here and it works. 

Here are a few examples of our customers great work!





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Sunday, 15 September 2024

The Sunday Reflection #25 - God gave Rock and Roll to you

I awake this morning with a fuzzy head. Last night, my band, The False Dots did a special free show for our fans at Mill Hill Music Complex. We invited Al Pascal's rcok school along to play with us. Five bands/ solo artists appeared. As most gigs these days are at pubs, there are really limited opportunities for younger musicians to play. So we thought a showcase gig would be great experience. The studio shuts on a Saturday at 6pm. The concept is simple, after the studio's commercial operations cease, we open the doors and let bands play in our lovely studio reception area. We are planning to do it monthly. There is no charge to come and if people want a drink, they bring there own. It is a chance to play and hone your talents. 

About 80 people turned up for the various artists, many were family. I think all had a great night. We ended with my band, The False Dots. 




The whole place got up for a boogie at the end. Afterwards, had a chat with a few of the punters who turned up. They loved the concept of the evening. One of my big bugbears is that there is nothing to do for teenagers in Barnet. There are so many talented young people making music, but apart from the odd gig at schools and local festivals, there is nowhere for them to go and hang out. A couple of people said "why don't you get an alcohol licence and make it a regular thing?". We could but then we'd not really be able to do it in the same way. The UK really needs to think the way we provide activities for teenagers. Parents moan that all they ever do is stare at their phone. Is it any wonder when there is nowhere for them to go. At this time of year, when it is warm, you get a few lurking around in parks etc, but that is the extent of the council's provision. 

I'm a big advocate of Rock and Roll music. I've been organising gigs since I was eighteen years old in 1980. There was nowhere to play for us, when the False Dots started, So we booked The Harwood Hall in Mill Hill, invited our mates bands along and put on a gig. It was a roaring success, so we've been doing it ever since. What is really great for me, is the divesity of people coming along these days. I was chatting to a few after and I explained my theory of how life is enganced by music. Unlike sport, religion and just about everything else, no one is right, no one is wrong, there are no winners and no losers. If you don't like an artist or genre, just listen to someone else. If you like it, get grooving. One of the young people, who'd been having a boogie said "I don't normally dance". I asked why? He said "It's not my thing?". I said "You seemed to be enjoying yourself tonight". I then explained that as far as I was concerned, if you enjoy something, do it. Don't worry if someone is better, someone looks cooler or you 'have two left feet'. Let the music guide you. Back in 1973, a band called Argent released a song called  "God gave rock and roll to you". It has one of the best choruses of any rock song, with a great guitar riff. Listening to it now, its a bit too prog rock for my tastes, but the chorus is magnificent. 

It used to be said that Rock and Roll was the music of the devil, but the opposite is true. It is the soundtrack to our lives. Often when rock songs are criticised for being rude, lewd, disrespectful or disgusting, the people who are most offended are the people who most deserve to be offended. My Dad once explained to me that it is always worth understanding the difference between smut (a word we don't hear often these days) and vulgarity. Things that are smutty are theings like Carry on films, Ian Dury Lyrics etc. They are not vulgar, even the start of Plaistow Patricia to me is not vulgar. It is designed to shock and get your attention, buried in there is a serious message "Keep your eyeballs white and keep your needle clean" The message is often overlooked. Dury was a masterful lyricist, there is always something in there that surprises you. If I've learned anything, it is not to jump to quick conclusions. If people act badly, there is usually a reason. This is an observation, not a justification. However if we want to fix our broken society, we need to take a good, long look at the reasons it is broken. Are you part of the problem or part of the solution. I happen to believe that getting young people into music, giving them safe places to express themselves and appreciate what they do is a big part of the solution and in a sane world, Rock and Roll is a big part of that. 

All I can really say is that if I'd not got into music, things would have been very different in my life. 

Here's a small snippet from our show

Wednesday, 28 August 2024

ULEZ One year on for business - All downside, no upside

Our business
 We are coming up to the 1st anniversary of the implementation of ULEZ on the 29th August. At the time I raised many concerns as to it's effect on my business and the sector we work in, the music industry. I wrote a blog giving my thoughts on the matter last July. I also wrote to the Mayor (no reply) and raised concerns with my assembly member Anne Clarke (no reply). In fact, I was indirectly insulted by the Mayor of London, who simply said that anyone complaining didn't care about the lungs of vulnerable children. If I was a millionaire, this may be a fair criticism, as a business owner, struggling to recover from the pandemic and who's cash reserves have been wiped out, it is a bit rich from a man on a big salary, funded by my taxes. 

So how has ULEZ affected my business and my customers. What are the upsides and what are the downsides? Lets look at a few effects and start by looking at our business and customers.

My business, Mill Hill Music Complex is a music studio based in Mill Hill, North West London, on the edge of the ULEZ zone. Historically, our customer base is around a 15 mile radius North into Hertfordshire (Borehamwood, St Albans, Watford, etc) and a five mile radius south (down to the North Circular generally). Historically, approx 65% of customers are south based and 35% are based north (outside of ULEZ).

Our customers are by and large working pro, semi pro and amatuer musicians. The pro and semi pro musicians generally have their own equipment, which they transport to rehearsals and gigs in large cars and vans. The vast majority of such musicians are not particularly wealthy and so drive non compliant vehicles historically. The ubiquitous Ford Transit is a big part of the story of most bands, ferryingthem to rehearsals and gigs. The economics of the music industry means most of these are old an battered. It may be a cliche, but it is, by and large true.

Many have stopped playing in London as the tiny margins they operate on have been severely affected by ULEZ. If you are doing a gig in London, often you will have to pay ULEZ twice, as you go home after midnight. This means that the first £25 you earn from a gig goes to TFL. If youa re a four piece getting £600 for a gig, then by the time you pay ULEZ and parking you've lost a third of your fee. The less bands gig, the less they rehearse. 

Whilst many of our customers from the south will use public transport, this is not practical for many in Hertfordshire, unless they are close to Thameslink. When a band has four members and live in Hertfordshire, travelling by public transport to rehearsals is not partcularly feasible.  This means that when a band books a reheasal in Mill Hill, on top of the room booking fee, they have an extra £12.50 per vehicle to add to the cost. This makes us uncompetetive with studios based elsewhere in Hertfordshire. Loyal customers who have been coming for years have moved on. Of course not all have old bangers, and for some there is convenience etc, but as a rough estimate, we've lost around 35% of our business from North of ULEZ. This means that we've lost around 15% of our income, directly from the change. Our business has tried to operate on a 25% profit margin after costs. We try very hard to keep costs down to the musicians who use our business. Over the last two years, with the rises in energy prices, minimum wage and rates increases, we have seen a 15% increase in base costs. Combine this with ULEZ and we have the 25% completely gobbled up. 

The only saving grace is that since lockdown, most of our competetors have gone. This has partially mitigated this loss, but if we do better than break even this year it will be an achievement.

Then there is the effect on the business. I own a non complaint Ford Galaxy, that we use for deliveries and collecting supplies from the cash and carry. Every time I use this, it costs the business £12.50. Ford do not make the model anymore, and the ULEZ compliant later models are expensive. We have made our cash and carry visits bi weekly, which has cut the ULEZ chare from £625 to £312.5 per annum, but it is still an expense. We pass on the cost to customers for delivery of PA systems, which again makes us less competetive, but is hard to quantify. Many of our PA hire customers are schools and charities. They are picking up the costs. A ULEZ compliant Galaxy costs around £8,000. It is actually c heaper to pay the charge as it would take five to ten years to get our money back. So we still pump out fumes and the Mayor makes his money.

Then there are the people who work for us. Window cleaners, plumbers, decorators, etc. Many who have old vans and plenty of work and are based inHertforshire, have stopped working in the ULEZ zone. They simply consider it too much hassle. This means we have had to engage new suppliers, who are invariably more expensive. 

Every business I know in Mill Hill has suffered some sort of impact from ULEZ, all are struggling after the Pandemic. The sad truth is that the Mayor of London does not care at all about the health of businesses. Money we could be investing in growning our business, employing more staff and helping keep London at the forefront of the worlds music scene has simply disappeared. If you raise it with anyone in the Labour party, you just get insulted for your efforts. I've not had a pay rise for the last five years from my business. all the cash is just keeping us afloat. I am lucky that I can still take a wage at all, this is only possible by trimming everything in the business to the bone. If we raise prices too high, then many of our customers simply can't afford to rehearse and record. Of course we have plenty of customers who can afford to pay higher rates, but if we squeeze out the young musicians, without a secondary source of income, we are not doing our job and we didn't start the business only to serve those with deep pockets. London has a nightime Tzar called Amy Lame, who the Mayor appointed when he got the gig. She has done nothing to raise these concerns. One day, we will find that London has no music scene. You will know who to blame.

Tuesday, 18 April 2023

Why I started Mill Hill Music Complex

Did you know that I'm a thick, lazy, good for nothing, who will never amount to anything? I was told this by the man responsible for my education between 1973 and 1978, Mr Nick Kelly, Headmaster of Finchley Catholic High School. My careers advice suggested I might try some form of engineering such as a motor apprenticeship or perhaps driving a train. I say a prayer of thanks to the good Lord that I didn't screw anyones brakes up, burn their house down or crash the train they were on. I never for one second considered any of the options they suggested seriously. From the second I saw the Ramones on the 6th June 1977, aged 14, at The Roundhouse, I knew I wanted to be a punk rock musician. Until a millionth of a second before they took to the stage, I had no idea what I wanted to do. As I believed my Headmaster, I assumed that I'd never get any job that required a modicum of intelligence and anything that didn't seemed far too dull to bother with.  When The band took to the stage and Dee Dee shouted 1-2-3-4 and the first number started, I realised that to be a rock and roller, you did not to be a virtuoso. You simply needed a workable level of skill and good glazing of attitude. I acquired the attitude long before I got even a basic level of competence on my chosen instrument, the guitar. But I learned that attitude got you everywhere. 


When myself and Pete Conway started The False Dots, we had three main obsticles. The first was that we didn't have any instruments or sound gear and even worse, lacked the cash to buy them, being at school. The second was that even if we had them, we couldn't play a note and thirdly, we had nowhere to practice. So we set about making a plan. Myself and Pete were brilliant planners. We were far better at making plans than executing them. But the plan was to beg steal or borrow a guitar, a bass and an amp so we could start learning the instruments. I managed to persuade my sister to lend me her Columbus Electric guitar. It was a very pretty guitar, but a pig to play and did not stay in tune. Pete scraped up money to get a bass and I bought a FAL 50 Watt amp, that we could both play through. We started madly writing songs (that we could barely play). We had no concept of music theory or how to structure songs, so not only were they played badly, but they were rubbish. But a true punk never lets that stand in their way. In the 1970's, we didn't have mobile phones and nothing was on telly, so we had nothing much to do. We slowly improved. We got a drummer, a Mr David Edwards from Finchley. Dave didn't have a kit, so he banged a biscuit tin and a tambourine. Fortunately, no recordings exist of this awful racket. 

After about a month of this, my parents were going mad. My Dad was very supportive, but it was driving him mad. He'd recently acquired the freehold of Bunns Lane Works Industrial Estate and there was a derelict caretakers cottage. He said we could rehearse there if we gave hime £2 a week. We immediately started working on how we could turn it into a 'proper studio'. We approached a couple of other bands, did a deal where we all had a day of the week to rehearse and they gave me a £1 a week towards the rent and electricity. We pooled our gear and "The Cottage" was formed as a musicans collective. Other bands started to use the facilities and also paid, so I ended up making a tidy profit. IN a short period of time, the other bands split and we bought their gear off them. Although the name Mill Hill Music Complex was not used until 2001, the studios started in 1979.

The reason they came into existence was because there was nowhere for young musicians to play in Mill Hill, so young musicians sorted the situation out. It was not and never will be the aim of the studios to become a multi national company, although I do believe that our formula is the best. We exist because people love music and music can only exist whilst there are places for people to make music. It all starts with places like Mill Hill Music Complex. 

As I am now 60, my thoughts turn to the future. A business such as ours only exists because of the passion of people to make it happen. Without that passion, it is nothing. 

Tuesday, 29 October 2019

Fancy a little party on Friday night?


Many of the readers of the Barnet Eye blog have become friends over the years. It would be really nice to see as many as possible at a little event I've organised. Don't be shy

This Friday marks a very special anniversary for me, as it is forty years since my studios officially became a business and had our first paying customer. I am proud that we've become a centrepiece of the Mill Hill community and of our support for events such as the Mill Hill Music Festival and many other events. 

To mark this auspicious event , we are putting on a very special gig in Mill Hill! Save the date of Friday the 1st November at 8pm. It will be a very special night at the Adam and Eve Pub in Mill Hill.

We not only have The False Dots, the band that started the studios, but also The Ron Lewis Partnership. Anyone who saw the Ron Lewis Partnership at The Mill Hill Music Festival, will know that they are a brilliant Rhythm and Blues band in the style of Dr Feelgood. They are a most appropriate choice, being one of the three original local bands from 1979 still going. They one of the earliest customers back then and they are still are.We will also be having some other very special guests, to be announced. The music starts at 8pm. I will also be DJ’ing, playing my favourite Ska and Reggae sounds. So come down for a brilliant party.

Please come down. Make a note in your diary. Here are a couple of tasters of what to expect

The Ron Lewis Partnership



The False Dots

Tuesday, 8 October 2019

Join us for a the 40th Anniversary Party of Mill Hill Music Complex at The Adam and Eve Mill Hill - 8pm Friday November 1st - Free Entry


Regular Readers will know that apart from blogging, my other claim to fame is that 40 years ago, I started a little music studio in Mill Hill, with the help of a few friends. Our official opening was on the 14th February 1979, when we had a party and The False Dots had their first rehearsal/jam. But perhaps a more important anniversary was the first paying customer. That happened on Thursday 1st November 1979. Up until that point, the studio had been the domain of The False Dots and The Malone Brothers (our partners in crime, the original musicians collective) and a few other mates bands. On the 1st November, we had our first paying customer, a friend of a friend got in touch and offered to pay us to rehearse. Why Thursday? Well no other self respecting musician would want to play on a Thursday, as Top of The Pops was on. Although it was seen as rather uncool by punks, it was perhaps the only chance to see any of the bands you like on telly. The 1st November edition was marked by The Jam playing Eton Rifles. I wonder if  40 years later, they'd have expected an Etonion to be laying Europe to waste?

Anyway, to mark the anniversary, we are putting on a very special gig. We have not only The False Dots, but also The Ron Lewis Partnership. Anyone who saw the Ron Lewis Partnership at The Mill Hill Music Festival, will know that they are a brilliant Rhythm and Blues band in the style of Dr Feelgood. They are a most appropriate choice, being one of the three original bands from 1979 still going. They were at Orange Hill School with me back then and they are still customers. We will also be having some other very special guests, to be announced. The music starts at 8pm. I will also be DJ'ing, playing my favourite Ska and Reggae sounds. So come down for a brilliant party.

Please come down.

Make a note in your diary.

Here are a couple of tasters of what to expect.

The Ron Lewis Partnership




The False Dots

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Sunday, 11 September 2016

The tweets of the week in the London Borough of Barnet

It's Sunday, so it's time for our regular weekly feature.

1. We like a fine sunrise! Nice pic from one of our regulars
2.  And here's one we couldn't ignore!


3. Fancy a bit of folk in Colindale this coming Monday?

4. It seems we've got some well behaved Police dogs being trained in Hendon!

5. A sad anniversary yesterday

6. Proud congratulations to two Barnet Copthall swimming club Olympians!

7. Seems like we've some exotic livestock in Totteridge!

8. This week we had the regular Federation of Small Business get together at Cafe Buzz

9. Our local Rugby club and league champions have a new pitch!


10. It's not just sport in our neighbourhood! We also have great music facilities, which the lovely Xsara seems to rather like!




Saturday, 20 December 2014

Don't you let nobody turn you round! - An auspicious anniversary

On Sunday the 17th December 1978, I went to the Marquee Club to watch The Fall and Manicured Noise with bass player/vocalist Pete Conway. We met a guy called Dave Edwards and his girlfriend Mandy Spokes. We agreed to meet up on Weds 20th December at the Railway in Mill Hill, 36 years ago today, to discuss forming a band - The False Dots. None of us could play, we had no equipment and we had nowhere to rehearse. We decided that this was no impediment.

I bought a Hofner Galaxy guitar and a FAL amp. Pete bought a bass and Dave bought a drum Kit. I agreed with my Dad that we could rent the derelict caretakers cottage at Bunns Lane Works as a practice studio, We then got in touch with another local band, called Kabuki, run by the Malone Brothers, who agreed to lend us a bass amp, in return for a rehearsal space. Seven weeks after the meeting, on the 14th Feb 1979, we officially opened our new studio in the derelict kitchen of the cottage and had our first rehearsal. Although we didn't know it at the time, this was the beginning of Mill Hill Music Complex Studios, as some of the friends who came down immediately asked us if they could rent the space, so they could rehearse there as well. Like many great businesses, it started by accident!

From the very beginning, all I heard was "You can't play", "Your songs are crap" and ""The cottage is a S**Thole" from siren voices, but we persevered, We persevered through line up changes. By 1981 the band were touring Scandinavia and the studio had a loyal hard core of bands who supported us. Amongst these early customers were Rockabilly Superstars The Polecats and Alan Warner from the Foundations,.As time went on the studios developed, to the point where we have 17 studios and over 1,000 musicians a week using us, in a purpose built air conditioned complex.

So today is the day is the anniversary of the day the whole idea kicked off. To celebrate, I'm doing a few numbers at the Open Mic night at the Midland Hotel in Hendon,with Allen Ashley who was our vocalist in 1985, Drums with Gray Ramsey who has been our drummer on and off since 1984 and Fil Ross, who many of you know from the studios who has played with the band since 1998.

It hasn;'t ever been easy but it's always been a blast. Thanks so much for all your support and don't you let nobody turn you round, if you have a dream. I wish I could say that the achievements of the last 36 years had all been part of a brilliant plan, but like most things rock and roll, the truth is that God/Karma/The stars were aligned in our favour and we were in the right place at the right time.


Rog T
XXXXXX

Thursday, 13 February 2014

Mill Hill Music Complex is 35 years old tomorrow !

Imagine my surprise. Kelechi, who is our in house marketing genius at my business Mill Hill Music Complex, was reading through our website earlier this week and said "It says here that you opened the studio on 14th February 1979" I said "Yeah, thats right". He said "What are you doing to mark the studios 35th Birthday?" I said "I hadn't really thought about it". In fact it hadn't registered at all. He said "You can't let the date pass without doing something". I suppose my biggest fault is I'm not that interested in looking backwards. He is of course right. It is a monumental achievement to reach our 35th Birthday.

You may well ask why we opened on Valentines day? Well the answer is quite funny really. We'd been rehearsing as a band in my bedroom. Having a whole bunch of teenage punk rockers blaring out music was starting to drive my parents mad. My father had some spare space in the derelict caretakers cottage at the site of his business in Bunns Lane. He said "Why don't you rehearse there". I thought this was a great idea. It meant I had the keys to somewhere which was to become the centre of the Mill Hill Rock and Roll Scene. We struck a deal. He said that if I gave him £5 a week in cash, I could use it for band rehearsals and if I rented it out to my mates, keep the profit if I made any. So I set out begging and borrowing some equipment. The Malone brothers up the road had a band and some gear, so a deal was done. They could rehearse once a week for free and we'd let them keep their gear there. We could rent it out to anyone else. Once we had a basic sound system, I hit on a master plan. I said to my Dad that I was having a launch party. I asked for a donation to get some booze. In fact this was a ploy to ask some of the girls I fancied down to the premesis for a tour of the sites. I thought Valentines night was a great night to kick off. I was still at school then, so having access to such a place was a massive coup for me. My Dad duly coughed up £25 and said "Get a good variety". I decided to get as much cheap cider as possible. I made a list and invited all of the fit girls I could think of down for the party. I also asked a few mates in other bands. As it happened, I was at school with Boz Boorer and Phil Bloomberg from the Polecats. They asked Alan Warner, highly respected guitarist of the Foundations down for a mozey. As it turned out, we had a great party. Despite my wicked intentions, the studio immediately had bookings every night, as there was nowhere to play at all in the area.

For the next two years of A levels, the studio paid my bar bills. The Polecats got a record deal and were soon on top of the pops. In 1981, my own band went on tour of Scandinavia. Back in those days, a night out cost £3-4 so I was doing very well getting £5 a session six or seven times a week. The success didn't go unnoticed and another local musician, John Basil approached my Dad and rented a workshop off him to use as a rehearsal room. He actually spent a few quid on doing it up and took away the better customers I was getting, but I had enough to get by. In 1984, John Basil and STN studios moved out to Colindale.We moved out of the caretakers cottage and into the studio they'd been using (now Studio 2). By this time, friends of mine were renting the caretakers cottage and so were sick of the nightly rehearsals.

Most readers of this blog will know me purely as a blogger. In actual fact, the blogging was purely accidental. I consider myself a musician first. I am immensely proud of the business I've built up and the great work I've done promoting Mill Hill and the London Borough of Barnet through the studios. Two years ago we opened a purpose built new studio complex costing over £1 million to put together. It has been a phenominal success locally. As someone who has struggled with dyslexia, I urge anyone with dyslexic friends and family members to consider what you can do with help and support. At every stage of the way, my friends and family have given me rock solid support. Thanks guys.

If you've never heard of us but are interested in music, please check out our website. I generally don't use this blog to promote my business, but I am sure you won't forgive me on this special occasion. I would have posted this blog tomorrow, but I wanted to spend the evening indulging my beloved, who does all the hard work running the studios, allowing me to do all the silly things I spend my life doing

You can visit our website here
http://www.millhillmusiccomplex.co.uk/


Tuesday, 26 November 2013

Your invitation to join the Our Barnet Community Choir - Join us for a day in the recording studio

Do you love singing? Do you love your community? Do you want to make a difference?

Now is your chance. We are looking to start the "Our Barnet Community Choir". Who says the devil has all of the best tunes. We will be holding a rehearsal and recording session on Saturday 30th November at Mill Hill Music Complex (Click Here for Directions)

Local Disabled rights campaigner John Sullivan has written a reworked version of the song Sixteen Tons by Tenessee Earl Ford

Have a listen to this. If you think you could handle the melody and learn the lyrics, then come on down on Saturday at 2pm. If you fancy yourself as a bit of a singer, why not come down and take part. To cover the cost of the studio and to pay for some refreshments, we are asking for a £5 donation (although this is not compulsory). It is a great chance to experience a commercial recording studio in operation. We are especially keen to have choir members who have been affected by the cuts and have a story to tell, so members from the disabled community and other affected residents are more than welcome.

If you are a male Bass voice or a female soprano, you will be welcome. We are particularly looking for singers to join in on the Chorus. If you are a budding choirmaster get in touch as we are looking for someone to take the Our Barnet Community Choir forward. It will be a lot of fun and we are videoing the recording session. Who knows, we may even get the choir to do an Xmas performance outside the Town Hall.




The 16 Mill

In Barnet Capita have taken control,
 They now control the residents body and soul
For many of us it's been  a bitter pill,
 To be forced out of  Barnet into Capitaville

Chorus
They hand over 16mil an what do you get.
Silence from  Tories and deeper in debt
St Peter don't you call us cos we can't go
They sold our soul  to the Capita Store.

Before the contract signing Capita were going to pay
But after the signing its gone the other way.
Capita were supposed to invest the mils
But now Barnet residents, are footing the bills.

Chorus
They hand over 16 mil an what do you get
Silence from Tories, and deeper in debt
St Peter don't you call us cos we can't go
They sold our soul to the Capita store.


The contract was hidden where the sun doesn't shine
Not read by Cornelius before he chose to sign
Now councillors are silent about our 16mil
They have recently  invested in Capitaville.

Chorus
They hand over 16 mil an what do you get
Silence from the Tories and deeper in debt
St Peter don't you call us cos we can't go
They sold our soul to the Capita store.

No consultation with Barnet residents
Has led to wide spread discontent.
And now we have to swallow another bitter pill
Cos their aint no questions allowed  in Capitaville



Chorus

They hand over 16 mil an what do you get
Silence from the Tories and deeper in debt
St Peter don't you call us cos we can't go
They sold our soul, to the Capita store

If you see Capita coming better step aside.
A lot of services didn't and those services died
They have fists of iron to enforce their deal
And if the right one don't deprive you then the left one will

Chorus

They hand over 16mil an what do you get
Silence from Tories,  and deeper in debt
St Peter dont you call us cos we can't go

They so-----ld  our so----ul to the Capita store.

Sunday, 1 July 2012

Is I ???

You may well think "WTF is he on about now?" One of the joys of having run a music studio for 33 years is that we've seen a vast number of people pass through our doors and grow up. We're now seeing the children of our original customers, bringing their children down to play music.

One of the more amusing things is the way that these kids change. Often they'll first appear as babes in arms, when proud Mums and Dad's bring them down to show us. Most people who are into music want their kids to get the bug. We next see them around six or seven, when they are getting their first guitar or drumkit. We are in the lucky position that our customers trust us. It also makes the kids feel a bit special and a bit rock and roll to visit the studios. 

They then disappear again until they are twelve or thirteen and come down with their first band. Proud mums and Dads lurk around, happily savouring the cacophony and visualising the day when the song reaches No 1 and the y get bought  the retirement villa in Bermuda on the proceeds. 

All of these visits are happy joyous, smiling encounters. 

What happens next is that hormones kick in. All of a sudden the kids won't be seen dead in a room with their parents. That doesn't mean that the free taxi service is dispensed with, it's just that the parents have to park around the corner. Strange things also happen to the appearance of the kids. These beautiful bouncing babies have morphed into straggly unwashed teenagers, lank hair, ill fitting clothes and spots. Perhaps the most interesting thing is what happens to their linguistic skills. One week they will come in and say "Hello, what studio are we in today". The next week they will point to the diary and say "Is I?" or something else which only years of training can decipher. Semi Patois accents are adopted (Is this compulsory for Mill Hill County High School?). The free taxi service (AKA parents) at this point appreciate our services more than ever. We actually get the little darlings out of the house for a couple of hours. Occasionally we will have the odd comic moment. On one occasion, a teenage man mountain in torn jeans, leather jacket, with hair that hadn't made contact with a shower for at least six months lurched in. Without uttering a word he pointed at the Pork Scratchings hanging on the wall and slammed down 60p. Many an old lady would have run for cover at the mere sight of this young man. As he turned around clutching his tasty snack, all of a sudden mummy entered. He had forgotten his guitar lead and she'd come to bring it. She saw the bag of pork scratchings and exclaimed "Joshua, what would the Rabbi say if he saw you with those?". All of a sudden the man hulk was transformed back into the naughty little boy aged five, running around giggling as he bashed cymbals on the cymbal display. 

I was reminded of this yeserday. The incident above happened in 1999. Yesterday Joshua turned up in his Mercedes, to give his son (mini Josh) aged five or six a drum lesson. The leather jacket is gone and the hair is washed and neatly cut. He was explaining to mini Josh how he'd been coming down since he was his age and how fantastic our new studios are. I wonder what he'll say when he catches mini Josh buying a crafty bag of pork scratchings in about ten years?

I asked big Joshua if he was still playing with anyone. He had been in a great band at university and music had been a massive part of his life. "With the kids and work, I just don't get time. The kit has been in the garage since we moved. It is just great to be down here with Josh". 

Sometimes the circle of life is a wonderous thing. I had the same conversation with his Dad (Old Joshua) when Josh was about five. 

I don't usually plug my business in this blog too much, but if you fancy a drum lesson, buy a drumkit  or a jam with your band then check us out - http://www.millhillmusiccomplex.co.uk/ -  sadly though, we no longer sell pork scratchings

Saturday, 2 June 2012

Rog T is "no Simon Hoggart"

For those of you who wish to know what a complete w*nker I am, why not pop over to failed Lib Dem Matthew F Harris blog and see what he's written.


http://matthewfharris.blogspot.co.uk/2012/06/roger-tichborne-and-personal-attacks.html

There is only one thing Matthew says which I think warrants a comment.
"It's sort of like Living Next Door To Alice - "Now Roger is gone, but I'm still here", etc, an analogy that ought to appeal to Roger, as he is something of a frustrated rocker. Indeed, I recall him telling a local newspaper that he would rather have a Number One record than be a Member of Parliament, at least one of those ambitions being one in which he is even further from achieving his goal than I am, which is saying something quite considerable."
I've played in a rock and roll band for thirty three years. I have stood as a candidate for a political party once, in 2010. I've never had any ambition to be an MP. I stood in Mill Hill, because the Lib Dems asked me to, not the other way around. At the interview, I suggested that I wouldn't be a very good councillor. Jack Cohen asked if I thought I'd do a worse job than some of the incumbents. That was the point at which I decided to go for it. There is nothing I'd like less than to be an MP.

As to having a number one. My preferred musical style is Punk Rock. My two favourite bands are The Vibrators and The Heartbreakers. Neither had a top ten hit, let alone a number one. Whilst a number one would be lovely, for me it was never a reason to play music. My proudest achievement is setting up my studios, which have launched a whole string of successful artists on their way, most notably Amy Winehouse and Kate Nash. Along the way my band has played hundreds of gigs over the years, many for charities, raising tens of thousands of pounds, primarily for MacMillan Cancer and the Teenage Cancer Trust. I hope we've also given people a good night out in the process. As far as I'm aware, Matthew Harris has never listened to my band, never attended a gig and is not even aware of the ethos behind our music. I am proud of my acheivements in music and if Matthew Harris had a clue he'd recognise these, rather than belittle them.

What infuriates me most about Matthew is the fact that all of his attacks, be it on myself or Mrs Angry are full of sly and bitchy innuendo's which when challenged, he claims "oh no, that's not what I meant". I expected an attack on my political views, but to use my love of music and my involvement in the industry to attack me was something I really didn't see coming. I wouldn't attack Matthew Harris for the success or otherwise in his day job and the fact he does that to me shows what sort of person he is.

As to the rest of his comments. I actually find it quite hilarious. Matthew clearly thinks I'm a complete idiot, know nothing about anything and am completely out of touch. I suppose in a funny sort of way he's completely correct, because if I only ever did anything because it was "the most sensible thing to do" I would have followed the advice of the careers teacher at Finchley Catholic High School and spent my life collecting dustbins for Barnet Council or whoever they sold  the contract to. Matthew states that my greatest strength is to "show enormous confidence in situations I know nothing about". I would suggest that Matthew reflect on this statement whilst checking out http://www.millhillmusiccomplex.co.uk/  as if you are going to attack someone on the basis of their job at least make sure you know what you are talking about.

Interestingly, Matthew Harris has attracted one admirer on Twitter. You can tell the quality of a man by the company they keep