Steve Anscombe is one of the co-founders of Protos. Born in Sussex, England, Steve first broke onto the music scene when he co-wrote two tracks for the album Seaside Rock, in 1981. This venture led to Protos's first album release, One Day a New Horizon, in 1982. Since then, he has been called "the greatest guitarist never to have been discovered", something that finally changed with the release of Protos's live album Into the Mouth of the Tiger. With the re-issue of the 1982 album, and Protos's live and forthcoming album releases, Steve's guitar playing and music writing is finally achieving much deserved recognition. In this interview, he gives details of his background and recent work recording a new album.
1) What is your musical background and how did you become involved in Protos?
From the beginning I have had an interest in music. The body of a banjo made a good drum. I did try learning the piano while young but hadn't developed an interest in classical music so got bored! I was offered the chance to learn the guitar at primary school, borrowed a scruffy old accoustic with a lovely tone and fell in love. My mother and grandmother were both pianists, my other gran sang. I can sing too actually - backing generally. It's the limit with an untrained voice. I grew up in a house with music playing on the radio or record deck from early morning to bedtime. It's no surprise that music has become the single most important thing in my life (other than people of course). I didn't do a great deal with my music until I met Rory. It's fairly well documented that a resounding thumbs-down to Shakespeare (Henry V to be exact) was the catalyst. Whispered conversations resulted in weekend get-togethers at the Duff (as he was then) family seat in West Wittering, just south of Chichester. Musically we clicked. We had other interests in common too, but the telepathy between us - fortunate as only one of us reads music - allowed us to create, write and arrange music that later evolved into material for One Day. We were two teenagers, a guitar, a non-portable home organ, with loads of musical ideas.
2) What were the key influences on your musical development?
Personality-wise, a guy called Dave French figures large. He was my guitar teacher at school. When I first picked up a guitar it seemed natural to sit and rest it on my lap and play right-handed; despite me being left-handed. Dave let me carry on this way around, and as I warmed to the instrument he offered, at no cost, his time after school (he was my form teacher at the time). He taught me to play songs by The Beatles, Dylan, The Stones - some education for a 10-year old. I would claim a pretty well developed sense of rythym, and will happily bash the crap out of someone's drum kit given the chance. By the time I got to secondary school could also claim to be a proficient second guitarist. Dave continued to be my mentor and my first experience of live performance came when I joined him on guitars at my primary school for a performance of Joseph & The Technicolour Dreamcoat. This was way back in 1973! I have always viewed my role with Protos in a "no, but" sort of way; I have never been and never will be a speed merchant. I don't make the fretboard scream in agony, but I can make people think with my style - make jaws drop and engage with people because I feel the music and can pass that on.
I'm not as polished or talented as the other three, but unique none the less and able to make a contribution. On the playing front, there are two artists who I admire above all others - and I have been lucky enough to meet both of them. Steve Hackett is my muse, if you like. He was self taught, doesn't (or didn't) read music, but what a performer. Any genre, any audience, he's the king for me. Hard on his heels, and a truly amazing guy, is Gordon Giltrap. I've followed his career from folk club beginnings through the big-venue-band era, round and back to a one-man performance at a local arts centre for less than 150 people. He leaves them believing that he has played the entire set for them and them alone. Accoustic perfection. I will admit that Panamor, from the One Day a New Horizon album, owes much to his style. Steve Hackett, on the other hand, can claim some credit for influencing the way I use sustain, pitch-bend and volume pedals!
3) How do you go about writing music? What creative process works for you?
Ear and longing! I don't read music so any ideas have to be pretty basic, sequences, stories, knowing what sounds I want to hear and the mood I want to create - then, with Protos anyway, it was a case of playing the basics, talking it through and getting Rory to fill in the gaps. Outcry on the new album is a perfect example - the opening sequence is mine, we talked it through from there and Rory developed the original arangement. If you know us and how we write, you can readily spot the point at which Rory's imagination and craft take things on. Working solo means creating solo pieces for accoustic guitar. Who knows; if we ever get to playing live again, and get all pretentious doing solo stuff; maybe one or two will get an airing!
4) What is your best memory of recording One Day a New Horizon 25 years ago?
I have trouble remembering what I did yesterday, never mind 25-years ago! General memories include hanging around doing very little, for long periods of time - and also listening to Neil Goldsmith; our then drummer, totally nail a fill in the Fugitive - Rory & I turned to each other then and, I think, said something like "Sh*t, he's spot on". The relief was tangible. There were few arguments, engineer Sam Small was as patient as can be, a quiet word or explanation was all that was needed. I remember the feeling of telling my friends that I could not go out that evening because I was off to the studio... The end result, listening to the whole thing and thinking "it doesn't sound like that live". Loads of jumbled thoughts and memories.
5) How has recording an album changed over the last 25 years?
Horse and cart to space shuttle! End of; there is no comparison. One Day was created in a very small studio, with the end result entrusted to magnetic tape, capable of taking 8-tracks of sound. I remember talking to our engineer at one point, discussing the end product and being told that aiming to get more than 18-minutes per side on a 12-inch vinyl disc; with the amount of bass we wanted at one end of the scale, and the clarity of four or five guitar / keyboard tracks on top; was risky. The more you squashed on, the worse the end result would sound. Today, with the software we had available we were able (if we wanted) to record an entire orchestra section by section. We didn't, but could have. IF we had wanted to! Probably the biggest single advance from my point of view is the ability to get precisely the sound that I want, rather than compromise due to limits on time or technology. I mentioned sustain with respect to Mr Hackett earlier; the difference in what I could produce on Noble Pauper, compared to the limits imposed on me when recording One Day, are proof of this.
6) What is your best memory of recording The Noble Pauper's Grave?
So far, taking a CD with three tracks; Born A Bit Blue, The Final Dawn and Departures outside to Rory's car, and whacking the volume up. The original MP3 versions were created by Rory and it was not until we got together in June and added other parts that either of us got to hear the final version. It might sound a bit conceited, but those three tracks just blew me away. Mind you; if you can't shout about your own music after having worked hard to achieve something, then you've got it wrong somewhere. We just looked at each other and knew. We knew that, regardless of our studio being Rory's lounge, we had created something to be proud of. The guy across the street wasn't so impressed. He came and asked us to turn it down!
7) If you could choose one track to recommend to Protos fans, which would it be and why?
This will probably surprise Rory, but Nightime / Outcry from the new album and it's not even finished yet! Having decided to run with the new album as a concept (or not - freewill and all that!) this is the point at which the story can grip the listener - two people, one real or imagined, the darkness and silence of a lonely night and the outpouring of emotion from a man who so desperately wants to achieve. This is the emotional high point I think - there's a number of musical highs along the way but this is the track that grabs me the most. It is, I promise you, nothing to do with the fact that it is also the track with the least lead guitar work. This album has stretched me and the whole thing has been worthwhile, but sometimes, the simplicity of the music allows the imagination to run riot - and Outcry does this.
8) What is progressive rock to you?
You know, I really have no idea! I have never really respected pigeon holes - one of my later projects was a two-guitar duo thing with a friend of mine; Doug Shephard. We share a love for 50s doo-wop, rock & roll and so on. We worked on some three-hours of material, across three decades, called ourselves The Recliners and with neither of us being speed merchants, or particularly energetic, simply reclined the lot and played it as an 85 year-old Mark Knopfler might! Protos is Prog Rock - because, as my wife says, there's no words. Proper music, she says, has words you see! Orchestral rock? I dunno. I get confused when, because 2112 is a concept album, three piece rockers Rush get labelled prog too - not to me; a truly fine rock band, but not a Camel or Yes! Perhaps that's it. What's prog? Camel is. Snow Goose. Case proven.
9) What next for Stephen Anscombe and Protos?
I sometimes lie awake at night day-dreaming that we have been invited to play live in Japan - then the next night I lie there shaking with terror, fearing that someone might ask us to play live anywhere at all! I am a realist nowadays. If asked, I would happily do a one-off somewhere just for old times sake. I would think very carefully before committing to anything more. One thing I would love to do is set the new album to video - or even work with someone to choreograph it for the stage. I can't always express myself as fully as I want to with the guitar; my brain writes cheques that my hands cannot cash you see, but I can always SEE the music. The way it should sound live, the lighting, the effects, the back-projection. It's all there and, for me, easier to acomplish than the live performance itself. There are guitarists out there half my age who could do a better job - as long as they remember where to put the silences! Back in the real world, there will be another album, as long as this one proves the need for it. We have more material, old and new to play with - and I'd be there like a shot. All you have to do is ask!
10) Do you have a message for your fans around the world?
WIthout wishing to presume that we have an army of fans - the message is as it was when One Day found its way to CD. To all those people who had the original album on vinyl, on cassette and later bought the CD; thank you. The past 12 months have been a truly humbling and pleasurable experience. I hope sincerely that you'll take the time to listen to The Noble Pauper's Grave too. We have put an awful lot of thought, effort and time into creating something that will be recognisable as being Protos - but with 25-years of technological advances and personal growth behind us - this is the mature Protos! I am extremely proud of what we have created and, regardless of what the future holds, will remain proud of it. Quite honestly, this is the highlight of my varied musical career.
Many thanks to Steve from NHM.
The next newsletter in October, to coincide with the release of The Noble Pauper's Grave, will carry a transcript of the recent Euro Rock Press interview with Rory Ridley-Duff. In December, we plan to have an interview with German keyboardist/composer Andrew Roussak.
