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My name is Martin Freeman and one of my favourite pastimes is music, whether listening, watching or DJ-ing. I’ve been watching live bands from when I was a spotty- faced 15-year-old in 1979 – and I saw my first major band, the Police, at the infamous Friars in Aylesbury – and still nothing comes close to the raw atmosphere, sweat and sensory satisfaction of a live band. You will regularly see me at various Music Festivals in our fine and green, if not wet, countryside.

House music is high on my list of musical tastes and from the end of the 80s, I spent many a night in the London club scene and this inspired me to try my hand at DJ-ing – all of this leads me to why I am writing this column.

I hope to share my passion with you, writing the odd review and rounding up our local celebrities who work in and around the music scene and pestering them for an interview, or whatever else they would like to contribute…

century to review, evaluate, discuss and explain the finer points of music and its quality, style and performance to the masses – that’s music journalism to you and I.

Mark Taylor has been writing about music for 25 years for a variety of newspapers, magazines and websites in and around London. A good friend of mine and many others in Chesham, although perhaps better known as Spud, he was born and bred in our fair town but now resides on the other side of the capital, just around the M25 in darkest Essex - although he writes for publications across greater London and beyond.

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Hi Mark. I feel I may have my work cut out this month dealing with a professional such as yourself so please be gentle with me. What first got you into journalism and was it music you were always into, or did that come later?

I’d always enjoyed writing and, I have to admit, been a bit nosy so the idea of getting paid to pass judgement on other people always appealed. Like most journalists I started out as a jack of all trades covering all sorts of subjects on local newspapers but music had always been one of my greatest passions so I tried to write about it as often as I could. The thought of blagging free tickets and albums helped as well.

THIS ISSUE: MARK TAYLOR

28 yourChesham • April, 2010

I should imagine it did. What you are currently up to now?

I’ve got a regular column for a bunch of newspapers and websites in north London among others as well as doing PR and promotions for a few clubs, DJs, bands and comedians in Essex and east London. I am also in the

MARTIN FREEMAN

interview

The

Each issue local DJ Martin Freeman catches up with local people involved in different parts of the music industry…

his issue we take a peek at a profession which first reared its critical head in the 18th

process of seting up my own website covering comedy, theatre, books, days out, what’s on and of course music.

You sound like a busy chap. Any tips or advice for budding young wannabees?

Grab yourself at least two A-levels, go to college and do a short pre- entry course in newspaper or magazine journalism. You don’t have to bother with university – unless you want to – although sometimes the Uni mags and fanzines can be a good way of cutting your teeth and making a few contacts.

The music industry is generally portrayed as glamorous and exciting, so therefore it stands to reason that a journalist’ s life must be the same – always on the road, gig after gig, night after night, meeting all the stars, but is it really all rock & roll or is there a lot of pen pushing too?

It all depends very much on the individual really - in terms of their actual job title, position and responsibilities and whether they are actually employed as a full-time member of staff or as a contributor, be it regular, casual or freelance. As a straight writer or contributor, which is what most straightforward music mags use, you basically go where you are sent or do what you have been commissioned to do and then send it in or pop into the office to write it up, while if you have additional roles – say as an editor, sub, news editor etc – you can make the decision and pick and choose which albums or gigs you want to review or which people you want to interview.

The number of gigs you go to

therefore depends on a combination of what the publication has room for and, more importantly sometimes, which ones the record companies, venues or promoters are prepared to give you tickets to. Unless that is you Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36
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