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Conspiracy ‘87

This year, for the first time ever, the World Horror Convention comes to the UK. In two weeks’ time, in fact. Also for the first time ever, I am going to the World Horror Convention. One of these events, obviously, is more momentous than the other. Anyway, I thought I’d prepare by writing my next few blog posts on Me & Horror — why I at first didn’t read it, why I started reading it, and why I still sometimes do read it. But before that, a blog post on SF. On one particular SF convention in fact.

Like this year’s WHC2010 (not to be confused with the World Hovercraft Championships 2010, which jostles for top billing on a Google search), Conspiracy ‘87 was held in Brighton. Unless Games Day ‘86 counts as a convention (I’m not sure on that point), Conspiracy ‘87 was the first con I went to. It is also, up to now, the only con I’ve been to, meaning there’s been a gap of 23 years between going to my first con and going to my second. This isn’t at all a measure of how I felt about Conspiracy ‘87, because I enjoyed it very much. It’s more a measure of the fact that I’ve never really got round to going to another one till now. (The only reason I went to Conspiracy was because Garen wanted to go, so I went along — for which I’m extremely grateful.)

So, here’s me outside the main conference centre in Brighton, wearing my Fantasy Archives t-shirt, with a just-visible Hannes Bok illustration (for Lovecraft’s story Pickman’s Model), which I must have bought at the con dealer’s room:

Me outside Conspiracy 87

That dealer’s room was massive, to my eyes anyway, and like nothing I’d seen before in terms of sheer range of SF & fantasy books. I recall seeing the cover of some comic I’d never heard of, called Watchmen, on a dealer’s table, and hearing that this comic was beginning to generate something of a buzz at the time. I bought (and got signed) Michael Moorcock’s Wizardry & Wild Romance, and also bought Brian Aldiss and David Wingrove’s Trillion Year Spree. I must have bought more than that, but those are the only two I remember. Both important books for me, as they led to me reading a lot of other books mentioned between their covers. I’ve re-read both several times.

My main memory of the con itself is of masses of people milling about, and huge halls filled with people listening to SF authors. I don’t remember anyone really being in costume, though I do remember a fully-functioning radio-controlled K9 someone had brought along. I don’t have many photographs, as I’m not great at taking photos. Here’s one from a talk panel on the launch of the Tales from the Forbidden Planet anthology. The chap with the mic is Ramsey Campbell; not sure about the lady next to him, but after her there’s Iain Banks (or I suppose that should be Iain M Banks), then Tanith Lee, then I think it’s Roz Kaveney (the editor of TFTFP), and Harry Harrison on the end:

I also remember Terry Pratchett, at a panel on “SF clichés”, where someone stood up and complained about SF stories where people have normal Earth names, till it was pointed out that there’s no reason why Earth people shouldn’t still be called Mark, Paul and David and so on in a couple of thousand years’ time, as we’ve had those names for at least that length of time ourselves. Then there was an interview with William Gibson, where someone with, I think, a French accent, asked me, pointing at the stage, “Excuse me, zis is William Jibson?”

But the main panel I remember, and the main reason I’ll always be grateful for Garen getting me to go to Conspiracy ‘87 was one called “So You Wanna Be A Writer” (or something similar). The only author I remember being on the panel was Robert Silverberg, and the only advice I remember him giving was “There’s two sorts of wannabe writers. Those who say, ‘I wannabe a writer’, and those who sit down and actually do it.” That made me realise I had to sit down and actually do it, and it remains the best bit of advice I’ve ever heard with regards to writing.

My only regret about Conspiracy ‘87 was not going to the Hawkwind concert, where they did a reprise of their Chronicle of the Black Sword show. Ah well. I’ve seen them a couple of times, since. I also recall my first experience of that post-con gap you get in the days afterwards, where you feel as though ordinary life is lacking something important in contrast to those few intense days of being surrounded by like-minded souls. I plugged that gap, of course, by buying books by the authors I’d seen, or (in the case of Alfred Bester, who was either too ill to come to the con or had just died, but was a Guest of Honour) almost seen. Many of them remain favourites to this day: Mythago Wood, The Demolished Man, Tiger! Tiger! (aka The Stars My Destination).

Mmm, must go to another SF con sometime.

Hawkwind’s Chronicle of the Black Sword

Ah, Hawkwind. Rocksters of Reality! Spacefarers of the Science-Fictional! Plunderers of Pulp! Barbarians of Blanga!

That’s enough of that. Let’s just say I like them, and The Chronicle of the Black Sword is one of my favourite of their many albums.

Those many albums… Sometimes I think Hawkwind aren’t so much a band as an anthology series, or an old pulp magazine. Weird Tales, say, or New Worlds. Pick up any lurid-covered issue of Weird Tales in its heyday, and you’d find a mix of stories by individually excellent authors, presided over and brought into some sort of unity by the vision of the editor, shaky-handed Farnsworth Wright (the “Tyrant Pharnabeezer”, to some of those who had to deal with his rejections), or, for New Worlds, (and quite fittingly in this case) the staunchly bearded Michael Moorcock. Pick up any lurid-covered Hawkwind album and you’ll find the same mix of authorial styles, presided over this time by chief Hawk Dave Brock (who has been called a lot worse than “the Tyrant Pharnabeezer” by those ex-members who’ve departed over creative differences, or been plain fired, but I think without him we wouldn’t have nearly so much — or as good — Hawkwind as we do. Hell, we wouldn’t have Hawkwind. Besides, I love his singing voice and thudding guitar).

Pick any two Hawkwind albums and play them back to back, and at times you’d be hard pressed to guess they were from the same band. You’ve got sixties druggy droning on their debut, a punk-like tightness in the Calvert/Charisma years, electronic trancy weirdness on It Is The Business of the Future To Be Dangerous, and oodles of straight-ahead rock (1980’s Levitation being a particular high point, for me).

chronicle-of-the-black-swor

Hawkwind's Chronicle of the Black Sword, cover by John Coulthart

The Chronicle of the Black Sword is mostly straight-ahead rock, with a few patches of moody instrumental, and the beautiful breathy synth lament “Zarozinia”. Having listened to the album a good few times since I bought it back in something like 1987 (it was released in 1984), I find it impossible to judge how well it works, as a fantasy concept album, in transporting you to its particular story world. Why? Because all I have to do is hear the deep whomping thrum of the electronic drone that opens “Song of the Swords”, the album’s first track, and I’m there, in Hawkwind/Moorcock/Elric land, and I stay there till “Horn of Destiny” at the end. (With perhaps a slight jar at “Needle Gun” which opens side two, because it’s Jerry Cornelius, not Elric.)

But Chronicle is just a taster of the full Hawkwind/Moorcock/Elric experience, to be found on Live Chronicles, a double album and DVD of the accompanying live show. (Which, I always kick myself to recall, I had the chance of seeing when Hawkwind put on a reprise of the show at Conspiracy ‘87, but, at the time, I was too scared of the idea of going to a rock concert to do it!) Here we get songs from Chronicle of the Black Sword and Hawkwind’s back catalogue, as well as some new linking tracks, woven into the tale of doomed Elric Womanslayer and the final battle between Law and Chaos.

Cover to US release of Chronicle of the Black Sword

Cover to US release of Chronicle of the Black Sword

How I’d love a full studio treatment of the whole show! Because, like it though I do, Live Chronicles just doesn’t have the full thumping aural richness of its studio-based little brother, and in the case of a song like “Moonglum” (written, sung and lead-guitared by the wonderfully reggae-voiced Huw Lloyd Langton), this is a crime, because this sublime piece of tune-smithery hasn’t, as far as I know, ever been studio recorded.

Ah well. Perhaps I should put the full-studio Chronicles (a triple album, I’d like to think) down as my fantasy fantasy album, the one I’d most like to hear had it ever been recorded.

Or I could, if I hadn’t already reserved that slot for the last of my top five fantasy concept albums, which I’ll be covering in the next Mewsings…

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