Lindsay Bridgwater Interview part 1

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Lindsay Bridgwater Interview part 1

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Hi Lindsay, Welcome to Ultimate Rhoads and thanks for giving me the chance to interview you.
All rights and written content are used with the consent and permission of Lindsay Bridgwater ©️

Q - My first question goes back to the beginning of how you got the job playing with Ozzy and did you play in other bands before getting involved with Ozzy as a touring band. As you nearly turned down the offer to go on that first 1980 UK tour. Luckily for you, the guy who replaced you did not get the job. If you can explain about what happened, and cover a bit of your past history please.


A - I got the gig through an advert in Melody Maker, a weekly paper (now defunct) where musicians could offer their services or bands could advertise for a musician to join their band. The advert said ‘Keyboard player/rhythm guitarist wanted for big-name band to tour UK, Europe and USA’. It was an ambition of mine at the time to visit and tour America. I had been absorbed by American culture during my time at university and the prospect of being paid to tour there with an established rock band, with its associated pleasures and distractions, seemed like a pretty good career option. I learned the songs, auditioned, and was offered the gig. I could play a bit of rhythm guitar, but as soon as I heard Randy play it became very clear that there was no need or musical space for a second guitarist. I had graduated from Cambridge with a music degree in 1977 with no clear idea of what I wanted to do, other than to play music. Among other things, I used to play the organ in working man’s clubs in the East Midlands (I was born and raised in Nottingham); I played a summer season in Skegness and I toured Scandinavia with a folk-rock band. They were about to embark on another tour when the Ozzy gig came up and they threatened me with legal action when I told them I was leaving. I had a temporary wobble and went back to record a video with them, but I realized that the opportunity to tour with Ozzy outweighed any other consideration so I left them for good.

Q - You played with the band behind the scenes mostly. But on occasions you did play in view and on stage. Noticeably a massive gig for you and Ozzy at the Oakland Coliseum CA. The 'Day on the Green' festival in 1981. Playing to a huge crowd of 40,000 people What was it like playing on that day.

A - It was thrilling of course. I remember we were fairly well down in the running order, playing support to bands like Blue Oyster Cult and Heart, who headlined. The date was July 4th, which is a hugely significant day in America so there was a great party atmosphere. As for playing behind the scenes I think that was a legacy from Black Sabbath who had an offstage keyboard player (Jez Woodroffe) and the pattern continued with bands like Queen, who also had an offstage keyboard player (Spike Edney).

When I rejoined the band in late1982 the logistics of playing offstage were not great for tight ensemble playing so I came out onto the stage more.
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Re: Lindsay Bridgwater Interview part 1

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Q - As far as I'm aware you only ever played as a part of the band in a live situation, with the touring band. Was this in an agreed written contract ?. And how did you never record with the band ?.

A - I did some recording with the band. The Tribute album, that was all me. There was a live EP released during the first English tour, (with an additional track ‘You said it all’) on which I played. There is a video of the band recorded live for ‘After hours’ in Rochester NY on which I am playing. I know too there are a lot of bootlegs out there. I regret not playing on any of the studio albums, and Randy later told me it was a mistake not to invite me to play on ‘Diary of a Madman’
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Re: Lindsay Bridgwater Interview part 1

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Lindsey having a drink in the hotel bar with Lee Kerslake, Brian Jones (bass tech) Ozzy far right. 1980 the location is unknown.
©️ David Tangye
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Re: Lindsay Bridgwater Interview part 1

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Q - How did your playing develop on stage as keyboards became more obvious in the later part of the 1981 & 1982 tours. More as rhythm keys to fill out the sound on stage.

A - In the beginning I played on the obvious keyboard-intensive tracks such as ‘Mr. Crowley’, ‘Revelation Mother Earth’ and ‘Goodbye to romance’. In some of the other songs where Randy was soloing and the bass was at the bottom of the texture I fleshed out the middle ground either playing rhythmic piano, or organ in songs like ‘Suicide solution’ (That’s an organ Leslie cabinet you can see in the back of the ‘Day on the Green’ shot). As the performing repertoire increased after the release of ‘Diary of a Madman’ I would play Vocoder on tracks like ‘Believer’ and ‘Flying high again’ As things progressed and keyboard technology improved, I grew more in confidence and contributed more to the overall sound.
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Re: Lindsay Bridgwater Interview part 1

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. ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌. ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ ͏‌ Q - You hit it off with your friendship with Randy. With both of you being classically taught. Did you play together much behind the scenes, back stage and did you ever record anything together during jamming etc.

A - Yes, Randy and I worked quite closely together, particularly when he was in England, both when we were preparing to launch the first ever tour and again at the end of 1981 as we were preparing for another European and US tour. In 1980 the rehearsals would take place in Nomis studios in West London and would notionally began at 12:00 noon. Randy and I were often the first to arrive and the other players would drift in. Ozzy was usually last of all and when he came in about 1pm or later we would convene to the pub! We would get through the work though; it was relaxed and everybody knew what they were doing. Randy and I would sometimes jam after the band rehearsal was over, and I was astonished at what he was able to do; I had never heard anybody play guitar like he did. At the end of 1981, with the band thoroughly 'broken in' after extensive touring, we rehearsed in Shepperton studios and Randy played me several of his ideas. One of them was like an extension or reworking of ‘Dee’ that had featured on the ‘Blizzard of Oz’ album. It started off as a semi-acoustic track which then developed the same chord sequence as a heavy rock riff. I played along with it and he liked what I was contributing. He smiled and said he would like me to play on his solo album. Of course this made me feel ten feet tall but, tragically, the album was never to be. I don’t think any recordings exist of this time, there was always a sense of ‘Oh, we can put that down later’. After he died I transcribed the track from memory as an expression of my grief. It was a 32-bar finger-style segment in 3/4 time that then developed into a full-blown rock section using the same chord sequence. There is a bit in the middle that I either can’t fully remember, or that was never fully formed in Randy’s mind, but the bare bones are there.
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Re: Lindsay Bridgwater Interview part 1

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Q - You played with Budgie who toured with Ozzy on a few UK tours. Did you ever play double duty on stage with both bands. Or was your time with Budgie on a smaller live basis.

A - I did play with both bands on the same bill for a few dates at the end of 1982. That was hard work! I had toured with Budgie separately in that year as they were promoting their album ‘Deliver us from evil’. Budgie supported Ozzy on the first ever UK tour in 1980 and again in ’82. They were a great bunch of guys and ‘Big’ John Thomas in particular, a formidable guitarist himself, was in awe of Randy and would try to learn as much as he could from him.

Q - Your name comes up in road stories with you being the brunt of many Ozzy pranks. From being dressed up like a crazy clown or doing the gig with one foot in a bucket of water. If you'd falling asleep you would get an eyebrow removed or your fringe cut off. Did you go along with the fun side of this or did you get annoyed to this consistent behaviour. I heard he would do this to other band and crew members.

A - Yes there were a lot of pranks and wind-ups at the time. I did have an ill-advised drinking competition with Ozzy on one occasion - there was only ever going to be one winner there! I passed out and woke up minus one eyebrow. As you say, several other people were targeted and it did get a little tedious after a while but things eventually stabilized.
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Re: Lindsay Bridgwater Interview part 1

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Q - Did you carry on your music career after playing and touring with Budgie and Ozzy. If you can let us know how you dissappeared into almost obscurity after playing with such great artists.

A - Of course I carried on. I have never tried to cultivate fame, nor to avoid ‘obscurity’ as you put it. Neither have I tried to live off the Ozzy connection, as the amount and range of my other work will testify. I was and remain a freelance self-employed musician. I did play with other bands, for example with Mick Ralphs for nearly a year; I also worked closely with Denny Laine, and did numerous gigs with him including dates in Latvia and Russia, when it had just started to open up to the west. I played for several years with ‘Pete Harrison’s blues band’ and we did loads of gigs round the Surrey and west London area. The drummer in the band was Mick Underwood, known for his work with Gillan. He was a terrific player- ‘Thor, the God of thunder’ we used to call him after his virtuoso solos.
I eventually went full circle and returned to my classical roots. I spent 17 years with the Philharmonia Orchestra (and other top London orchestras) playing keyboards (Organ, Piano, Celeste, Harpsichord, Harmonium, Synthesizer) and joined them on innumerable tours, concerts, recordings and broadcasts. Because I am fairly versatile I have usually managed to pick up enough work. I work as an organist, recitalist, pianist, accompanist, continuo player, choral director and have worked a lot in Musical theatre, both as keyboard player and Musical director. You mentioned the ’Day on the Green’ date with 40,000 people there. I played a date with the Philharmonia, accompanying the ‘Three Tenors’ to more than 100,000 people at the Nou camp in Barcelona so size isn’t everything! I also played a concert with them in the Vatican for Pope John Paul II. In more recent years I have composed music, including for two of the plays by my wife, Rian Flatley. One of these, 'Seven Letters' has been played to great acclaim in England and Ireland

Q - Most people who could interview you would want to know what it was like to play with Randy both on stage and off. Did you hang out together on days off, what was he like as a friend to you.

A - Playing with Randy was undoubtedly one of the joys of my professional career. He was a total inspiration and it was interesting that he was coming more towards classical influences at the same time as I was veering more towards rock’n’roll. We sort of met in the middle. I enjoyed developing the ‘twin lead’ idea with him so that, for example in the final solo in ‘Crowley’ I would play a harmony part beneath him, semiquaver (sixteenth note) triplets in thirds and fourths. If you listen to this solo it is exactly the same chord sequence as in ‘Winter’ from Vivaldi’s ‘Four Seasons’. This didn’t click with me at the time and I don’t think Randy was aware of it either, but maybe he had heard the piece and was subliminally recycling it. In any case it shows the direction of travel and the journey he was undertaking. It was at those moments that we converged particularly.

Offstage we were buddies. I remember after one of the pranks mentioned above, we two took a guided bus tour around Boston. I was upset about my eyebrow but he talked me round and made me realise we were in a crazy environment and that I should just hang on in there. He acknowledged my musicianship and said nothing else really mattered. We also took a helicopter ride over Manhattan together as well as many other shared experiences. Randy had rarely been out of California so the scale and size of America was almost as new to him as it was to me. There was a photo of us together at Niagara falls that got 'lost' during the divorce from my first wife, which I regret. Randy always had a camera at the ready.
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Re: Lindsay Bridgwater Interview part 1

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Lindsays a very down to earth musician isn't he? These responses are priceless. Thanks :)
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Re: Lindsay Bridgwater Interview part 1

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Well done GUITARIDOL5682!! That was a super interesting read.
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