Known as Madeline
Milquetoast at school, the proverbial butter would not melt in her mouth
until she saw Deep Purple on 'Top of the Pops'. Ian Gillan's vocal delivery
just changed everything. Her classical training was thrown to one side and
she just had to have a Hammond Organ, and get in a band like the 'Purps.
Just one snag...no dough. Biting the bullet, it was time to schlepp up and
down the M1 with (one kids you not), the Sweethearts Showband, doing the
'workies' - those late but unlamented Northern clubs, where MCs really did
ask for 'the best of order' for the 'turns' and mushy peas were served up
in the interval between bingo and band.
Character building stuff, no
doubt.
and, in the
end she got the Hammond Organ and a series of residencies in London and the
South East playing cover versions of the mighty rock outfits of the day -
Purple, of course, Zeppelin, and her speciality - Keith Emerson of the
much-derided-with-hindsight Emerson, Lake & Palmer. Emerson, for those
of you unfamiliar with the chap, used to treat the Hammond Organ with about
the same amount of respect as Pete Townsend did his guitar: no theatrical
device would be overlooked as he rocked the instrument to and fro, whilst
dealing out painful volume level versions of classical pieces like 'Pictures
at an Exhibition' and Aaron Copeland's 'HoeDown'.
It was this latter piece
which took the ear of our young heroine, number one in a field of one in
those days, (there were virtually no girls in rock bands) and it was duly
delivered each night to a throng of music-hungry punters.
1999. As more and more songs are added to the CyclePath set, the flexibilty
offered by a headset mic and in-ear monitoring will enable Madeline to offer
the same detailed vocal sound normally found only in studio recordings 'live,
on stage'. This exciting development will be incorporated into the band's
next live outing and the results will mark yet another milestone in her never
ending quest for a total live music
experience.