Andy Qunta's Story
Imagine - you're an Earth Band fan, now draw up a list of things you'd like to achieve:
Andy Qunta has achieved all these, now read on in Andy's own words…
The first connection I had with Manfred was round about 1972-73. My brother Tony and I had a band called Factory (a year or two later Steve
Kinch joined us!). We bought a PA system from an ad in Melody Maker, which turned out to have belonged to Manfred Mann Chapter 3. We used it
for a few years, and left the MMC3 stencils on it, along with the Factory ones. In the summer of '73 we supported MMEB at a show in Brighton. I
had only just become aware of them really, because Joybringer was a big hit at the time, and I really liked it. (Funnily enough, I don't think they
played it that night!) I remember briefly chatting outside with Mick Rogers, and of course we nodded politely to Manfred, Colin and Chris Slade
during the course of the evening. I went and saw them play in my hometown of Hastings a short while later, so I suppose I liked them!
I really became a huge fan when I heard side 2 of 'The Good Earth', at someone's house, while Factory were on tour in Holland in '75. From then on
I bought all the albums, and learnt a lot about playing keyboards, and especially the Mini Moog, by listening to Manfred. In the summer of '76, I was
working for a swimming pool company, and was on my way to pick up materials, when I first heard 'Blinded' on the radio. For the first and only time
in my life, I had to pull over and stop. I was so knocked out I didn't have enough concentration left to drive at the same time! Although I had liked Mick's singing, I was very impressed with the new guy! Tony, Steve and I formed a new band, more progressive, and with a definite MMEB
influence (in MY songs anyway!). We sent tapes to all the record companies, and the only one really interested, during those Punk days, was Bronze, who had MMEB and Uriah
Heep (another of my faves). We got invited to the Bronze Records Christmas Party, in '77. We met lots of heroes like Ken Henlsey from Heep, but the highlight for me was being
introduced to Manfred. He said "Oh, you're the guy who's been listening to me!" Correctly or not, I took it as a great compliment! Having noticed that MMEB did a lot of other people's songs, I developed a burning ambition
to write a song for them. I sent several tapes of our band Head On, doing whatever songs I had written which had been influenced by MMEB. Nothing happened. While I was
playing with Hazel O'Connor, our monitor engineer told me he knew Chris Thompson, and that he had side-band called Filthy McNasty, who played at the Bridge House pub in
London. Naturally I went down there, and thought it was amazing that the Great One would play in a pub! Fabulous! Then when I did a tour with Steve Harley and Cockney Rebel in '81, our roadies were
none other than Davie Phee and Edwin Cross, who I knew from the Angel Station album (tea with or without toasted cheese!). Wow, they were celebs to me! They told me to
keep sending songs to Manfred as he listens to them all. I don't know if that is true, but it was encouraging to hear! After the tour I decided to try writing something more Eighties and less prog-rock,
obviously not with MMEB in mind at this time. I had a book on my shelf called Statistics, and I thought it would be a good title for a song. I wrote most of the lyrics first, which is
unusual for me. Then I came up with some music that sounded like a mixture between Ultravox and Kim Wilde's 'Kids in America'. Thought I had a
good song. Went into a friend's garage/studio and came out with a pretty good demo. Decided it was so good I would send it to Manfred, even
though I didn't think it was Earth Band style. I walked to the Workhouse late one night from a gig I was doing a mile or so away, and put it through the letter box. Put it out of my mind.
Three months later Manfred called and asked for the sheet music for Statistics! I wrote it out ASAP and got it over to him. He said they were trying it
out! I knew Steve Waller through my brother Tony who jammed with him sometimes. He would give me reports on the recording of the new album
every month or so. He would say "Still doing Statistics!" for about 3 months it seemed. Finally Manfred called and said it was nearly finished, and would I come over and discuss the publishing arrangements etc.
When I got to the Workhouse, I walked along the corridor to Manfred's office, and what did I hear on my way? I heard MMEB, with Chris Thompson
singing my song! An unbelievable moment in my life! If my memory serves, Manfred told me he had listened to 300 songs trying to find one more for
Somewhere In Afrika! Wow! That's when I found out they were doing a kinda concept album about the apartheid system in South Africa. Statistics
was now called Tribal Statistics, and there was some chanting of the names of tribes added to it. I imagine that Manfred was then surprised to
learn from me that my father was South African - from the Xhosa tribe! One of the names chanted in the song (and others on the album). Life's a funny thing sometimes!
In early October '82, the day before I left for Australia to join Icehouse, I finally heard the finished version of Tribal Statistics, in the Bronze
Publishing office (can't remember the guy's name in there - but he was very nice and I stayed in touch with him for quite a while). It was fantastic, and I still think so!
Here's a couple of things about it you might like to know. The lyrics of the second verse were changed by Manfred to fit the concept (I don't
remember now what my lyrics were). Also he left out a couple of lines that I had as a lead-up to the chorus. ("Behind the door in secret places, the
files are up to date. You don't know just who is watching, lying there in wait"). The song sounds great without that bit, so I don't miss it. Also, I
recently came to the conclusion that there is a keyboard melody in there that reminds me very much of something in Hollywood Town/ You Are I Am. If so, at least I gave it back to the person I took it from!
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I saw Manfred at the Workhouse now and then during this time. He was always lots of fun! Very exciting talking to him about things like keyboards and royalties! (Amazing to get paid as well!) Finally Chris and I started writing songs in between tours etc. It was no problem coming up with ideas. The problem for me was that everything he sang sounded incredible, so I wasn't sure if the song was great, or just his voice! I think it was somewhere around this time that I played a gig with Chris somewhere in London. John Lingwood also played, and Geoff Whitehorn and Dave Flett were the guitarists. I don't remember it too well, but I know it was fun!
In the summer of '85, Chris told me the Earth Band were going to audition for a new bass player. I immediately mentioned my friend Steve Kinch. I had thought for years he would be ideal for MMEB, but that was just as likely to happen as me writing a song for them! Then - a most amazing offer! Chris said that Manfred was really busy with other things, and didn't really have time to do the auditions, so would I fill in on keyboards! Would I! I get to play keyboards with MMEB! You can imagine what a thrill that was! I spent 3 days in a rehearsal studio playing with Chris Thompson, Mick Rogers and John Lingwood. We played 'Blinded', 'Davy', 'Quinn' and lots of other classics, while different bass players came in and out. I must admit I thought Steve was the best, which I expected, but I didn't know what the others (who actually had a vote!) would think. Of course, I had given Steve as much help as I could, making sure he had tapes of all the songs etc. However, he really worked hard, so he was well-prepared, and he played great and fitted in perfectly. Anyway, he got the job, and 19 years later, he's still doing it! I guess he worked out OK! Cheers, Steve!
Around Christmas '85, Chris and I were in his studio, thinking of what to write next. Chris had an idea he wanted to do something with lots of percussion, and lots of vocalists, like a choir or something. We thought it should be a song about peace and harmony etc. Anyway, I helped him fiddle around with the drum machine, and out popped this rhythm, with hand claps out front. Sounded good! Then I played some slow chords on the keyboard, and Chris joined in on bass. It sounded so good we kept playing the same thing for a couple of hours or so. Then we called our friend Maggie Ryder, and told her we had a great piece, but couldn't think of where to go next with it. She came over and we quickly finished the track. Then we (well mostly Chris and Maggie!) came up with melodies and put them all together. Sounded really good! We got worried about the lyrics though. We knew what sort of thing we wanted but we didn't want to blow it. Then Chris ran in to Keith Reid, lyricist from Procul Harum, and he agreed to help. We all thought 'You're The Voice' was pretty special, and it's been great watching it's success, which still continues with dozens of versions all over the world.
After I left Icehouse in mid-'88, I came to LA to record a solo album, 'Legend In A Loungeroom'. Half the songs were written with Chris, so it was a little daunting singing songs he had sung on our demos! Anyway, I finished it and it sounded pretty good, but unfortunately there was some legal problems and it was never released. Or actually it was released in Europe later, but I didn't know about it at the time! Anyway, I have now, as of June '04, remastered it with 2 extra songs, and brand new artwork, and it is available on my website -
www.andyqunta.com .. Please visit my loungeroom at that address! Lotsa good stuff there! By the way, the CD artwork and website are the work of my girlfriend, Teresa Stein, who I met through Chris. She designed and maintains the gig page on his website, manages his mailing list, and does assorted photography and graphic design for him. I asked her if she would design a website for me. Apparently that is a pretty good line! Also, I now have a great website and CD cover! Thanks Teresa! Thanks Chris! Thanks MMEB - it's all because of you!
After moving to LA I had bit less contact with MMEB and Chris, but I was still talking to
Steve on a regular basis to stay in touch, and I still do. Then about 5 years ago, Chris moved over here, and lives about 50 miles away from me, which is nothing in Southern California (How are we doing out in California? It could be
the money - no, it could be the sun - that's more like it!). Now I have been playing keyboards with the Chris Thompson Band for the last 2-3 years, whenever Chris's busy schedule allows. It's really good fun, and we get great reviews! Also, Chris and I have written more songs. One of them, 'Do It For Love', is on his incredible new CD, 'Rediscovery', along with a new version of 'You're The Voice'.
Another MMEB connection for me occurred a couple of years ago, when a mutual friend introduced me to Harriet Schock, who wrote 'Hollywood Town'. She is a very well respected songwriter in LA, and was nominated for a Grammy for 'Ain't No Way To Treat A Lady', Helen Reddy's hit. Harriet and I wrote a really good song which I hope to do on my next CD. By the way, I heard her original version of 'Hollywood Town', and it's really good, but very different. Actually she told me her publisher told her she should sit down before he played her the MMEB version! Manfred, of course, is the greatest arranger of songs in rock history in my opinion. He doesn't just do a song, he recreates it. Springsteen's a genius writer, but have you ever heard his 'For You', or 'Blinded', compared with MMEB? I rest my case!
It's very exciting to be a fan of a band, and then be able to have all kinds of connections and involvement with them. I have been really lucky. Apart from the great music, Manfred is very genuine and generous, and that goes for all the members MMEB. I will always be a fan, and I hope I continue to have connections with them.
Andy Q
(Thanks to Andy for writing this article).
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