"Blues, rock 'n' roots, psyche folk, dreamy ballads; the genre-bending versatility of his guitar is admirable" - herecomesthesong.com


UPDATE June 2022: This is a newly remixed and remastered version of my debut album, so those of you who didn't listen to it first time around can now choose not to listen to it again!


LOSING TRACK OF TIME is my first album of songs. It's taken me over 45 years to get this far and, hopefully, is worth the wait.


LINER NOTES

GROWING up in the 1960s every young boy dreamed of being in the Beatles, or failing that in a band - any band. I was no different. I got my first guitar, an enamel toy with plastic strings, in 1964, but a real acoustic guitar arrived for Christmas in 1969 and I was immediately hooked.

Since then I have been in a number of “bands”, all similar in the fact that they were pretty rubbish, but also in the fact of being great fun. The Bed, Matilda, The Boiler Brothers, Legal Tender and The Lazyboys - all bands that, if there was any justice in the world, would today be legends of rock!.

My first live gig, with Matilda, was on Valentine’s Day in 1973 at All Saints Church Hall in East Sheen, just across the road from Shene Grammar - the school in south-west London we all attended. This was memorable for the first appearance of my rather debilitating habit of throwing up with nerves before performing live.

Later, after university in Leeds, I joined The Boiler Brothers (so called because we wore white boiler suits and furry boots made famous at the time by Pete Townshend) and later still, when I started my career as a journalist in Marlow, it was Legal Tender.

We only played a handful of gigs but one, in a Southall pub, took place in 1981 just a day before rioters burnt the place down - and there is absolutely no truth in the rumour that they only did so because they had heard we were about to perform again.

Nothing then happened musically for me until in 1996 I met up with some old school friends and formed The Lazyboys - who certainly lived up to their name. We only played a few gigs, rehearsing in a room in Wandsworth and earning the alternative name of The Sausage Lot from the landlord of the pub we spent most lunch breaks in.

Although the Layzees continue to meet regularly in the Prince’s Head in Richmond (at least we did before the pandemic) we haven’t played together since our farewell gig at Christmas 2000.

Despite that I have always wanted to record an album of the songs I’ve written over the years, so now, after more than 40 years, it’s a miracle it has finally seen the light of day.

It was the lockdown that kickstarted this musical stroll down memory lane. Sorting out some junk in the loft one day I came across an old, long-lost Waitrose carrier bag, filled with song lyrics and chords that I had written with my old friend Peter Monteith, scratched out on the back of assorted bank statements and brown paper pay packets (Remember them?).

Over the years I had tried to record some of the songs, tinkering with various multi-track tape recorders and not really getting anywhere, but now I decided to invest in Logic Pro, watch a few YouTube tutorials and dive in the deep end.

The bulk of the songs on this album were those originally written between 1977 and 1981 with Pete, firstly in Leeds, while we toiled in The Boiler Brothers (me on guitar, Pete on drums) and later in Marlow, when we both worked as journalists at Chiltern Newspapers and played in Legal Tender.

I had first met Pete in Leeds in 1977 after I had spent the summer working in New Orleans and becoming intoxicated with the gumbo of musical styles I had been exposed to. Pete and I hit it off immediately and our shared love of music eventually led us to try to write some songs together - mostly in the front room of my flat above Eddie’s fish and chip shop in Autumn Avenue.

Pete came up with most of the lyrics and we wrote, me hunched over my guitar, and both drinking copious cans of Colt45 beer.

After 1981 life saw us move in different directions. I gave up journalism (for the first but not last time) and returned to New Orleans to work as a bartender in the famous Gumbo Shop restaurant, while Pete went on to edit Broadcast magazine and later run Ofcom in the East of England.

He also played in a number of bands including Trampoline and Norfolk group The Vintage, for whom he still drums. He has probably played thousands of gigs over the years - sadly, I reckon I’ve only managed about 35 in total.

When I first contacted Pete to let him know that I was planning to record some of our long-lost songs I imagine his first reaction was probably one of bemused amusement. His second, however, was one of alarm: “I hope you are doing some judicious editing in your selection,” he said, “as there’s one or two of them that are not just politically incorrect these days but possibly illegal.”

Well, he probably has a point - especially on re-reading the lyrics of one of them, which I'll definitely leave in the loft. In our defence, we were very young and it was the 1970s so perhaps we can be excused some questionable overly aggressive lyrics and dodgy subject matters (which were largely reactions to relationship issues). Hopefully we are marginally more mature now.

This album features six of our early collaborations - and there are more to come!


NOTE: This project has never been about making money - I'll be delighted if anybody enjoys just listening to it. To that end I have set this album up as a pay-what-you-want product.

That means you can download (at the link above) for anything from "0" (FREE) to whatever you think it is worth. Perhaps 50p per track, which equates to £5 for the complete album. There is also an option to download a pdf of the 20-page CD booklet.

If anybody is still into old technology then physical CDs are also available. If you want one then please download the album for £7.99 (to cover postage and packaging etc) then email me via the "Contact Ian Tasker" link opposite and I will mail one to you asap.

Similarly please contact me if you have any queries or comments, which will all be gratefully received.


1 AWAYDAY

The first track on my remastered and reordered album, AwayDay, is a song about relationship difficulties and how, especially when you are young, breaking up and getting back together is all part of the game.


AWAYDAY

Baby, baby, we've got to sit down and talk
Maybe, baby, you've got a feeling about me
I've got some news, it's bad not good
Better listen like you know you should

I'm not going to be here forever you know
You got to realise that it's time to go

I'm telling you I've got to leave the town today
And real soon I'll be far, far away
But the ticket I bought is a return
Sometimes I think I'll never, ever learn

I'm not going to be here forever you know
You got to realise that it's time to go

Every time it ends we say a last goodbye
I make the break but you're laughing as the train pulls out
For you know I'll come back before time has passed me by
I'm not the kind to leave

Baby, baby, your time will come
You'll be laughing to an empty room
You'll rely on me once too often, dear
You'll wake up and I'll be nowhere near
Your hands will grasp into a vacant space
You'll give anything just to see my face

I'm not going to be here forever you know
You got to realise that it's time to go

Every time it ends we say a last goodbye
I make the break but you're laughing as the train pulls out
For you know I'll come back before time has passed me by
I'm not the kind to leave

Words & Music by Ian Tasker & Peter Monteith

2 HEY WOT YA DOIN'

This song was inspired - if that is the right word - by a guy I shared a house with at Leeds University. In order to protect the innocent I will call him Pike (“Don't tell him!”).

Pike was a tall, good looking Maths student from Devon and irritatingly for the rest of us he was a genius, on his way to the most untroubled first-class degree imaginable. He was also an incorrigible womaniser.

It was a not uncommon scenario on a Sunday morning when, as the rest of us were feeding our hangovers with greasy fried egg sandwiches, Pike would descend the stairs with a sheepish grin on his face and his latest conquest in tow. She would be treated to the best breakfast he could muster and a nice cup of tea before disappearing out of the door never to be seen again.

We were always aghast, a mixture of disgust and awe at Pike's behaviour, as we made our way wearily to the pub for lunch. Happy days. 


HEY WOT YA DOIN'

Woke up in the morning,
Looked down by my side
What I saw there didn't fill me with pride
There was a girl I'd never seen before
Asking me if I wanted some more

I said now hey wot ya doin' in my bed
Hey wot ya doin' in my bed
I said now hey wot ya doin' in my bed
Won’t you please go home

When I asked her what she was doing there
She said I'd picked her up in a pub for an affair
We went back home and we shared my bed
Now the beers and whiskies doin' funny things to my head

I said now hey wot ya doin' in my bed
Hey wot ya doin' in my bed
I said now hey wot ya doin' in my bed
Won’t you please go home

Went back to bed the next night
Lordy, lord, lord, I got such a fright
There was a girl I'd seen once before
Telling me she wanted more, more, more

I said now hey wot ya doin' in my bed
Hey wot ya doin' in my bed
I said now hey wot ya doin' in my bed
Won’t you please go home

Words & Music by Ian Tasker & Peter Monteith


3 DRIVER

In the spring of 1978, after graduating from Leeds University, i got a job on the buses working out of Headingley Garage, plying my trade on the 93 and 96 routes between the City Centre and the northern suburbs.This song was inspired by my time on the road with Leeds Metro. The anti-social hours I had to work definitely made holding down a relationship difficult.

We used a bit of poetic license here as I was a mere conductor not a driver and route No1 sounds better than the No93 to Cookridge.

If anybody is interested, I wrote a piece for The Guardian in 2000 about my life on the buses. After listening you can read it here:

www.theguardian.com/g2/story/0,3604,212048,00.html

DRIVER

In the morning wake up by your side
Put on my shoes and find my way outside
But you're not awake and the sun don't shine
It's four in the morning and I'm not feeling fine

'Cos I'm on my way to work
To earn my bread
I've got to drive a Number One
Every day I'm on the road
Sweating blood
I'm just trying to keep to time

In the evening when I get home
You're not there, I find myself all alone
I go to bed, waiting for your return
But you're at work, I've got my time to burn

'Till I'm on my way back to work
To earn my bread
I've got to drive a Number One
But for every day I'm on the road
There's a night without you
'Cos you've got a job of your own

Words & Music by Ian Tasker & Peter Monteith


4 DANGEROUS EYES

This song was triggered after meeting an old girlfriend in Marlow one Christmas time in the late 1970s and noticing that her eyes matched the colour of her brand new car - a Mini Cooper if I remember correctly. It’s about the battle with temptation that might have followed.

DANGEROUS EYES

Your eyes match the colour
Of your brand new car
And I wonder if I'll be seeing them a lot more?
Bright blue and piercing,
Take me back over all the years
I never thought I would see you again

Your face is still the same,
Your hair's a little shorter
But somehow you look
More lovely than before
But you're not for me. At least I don't think so
What have I let myself in for now?

Now you've got dangerous eyes for me
Trouble ahead I can see
Dangerous eyes, you've got me in your sights
You've got dangerous eyes for me

I know I should put you right out of my mind
But you've got some kind of hold over me
There's something there that's old
Trying to start anew
Oh my God, what am I going to do?

All that you've got to do is
Smile with your eyes of blue
I ain't got the defences to counter that
Shouldn't feel this way but whenever I see you
I don't know where I'm gonna end up tonight

Don't know where I'm gonna end up tonight
Don't know where I'm gonna end up tonight

You've got dangerous eyes for me
Once I was blind, now I can see
Dangerous eyes, you had me in your sights
You've got dangerous eyes for me

Words & Music by Ian Tasker & Peter Monteith


5 WORLD THAT CANNOT TOUCH

This song is a bit different as unlike the others so far, that were originally written in the late 1970s/early 1980s, this was penned this year in 2021.

Inspiration came after another great friend, Neil Morton, sent me a moving lyric about the lockdown, and suggested I try to write some music for it.

I have known Neil for over 35 years and we have often - during our days working together on the sports desks of The Times, The Independent and The Guardian - engaged in lengthy discussions about music and our previous lives trying to hold down a chord but, strangely, we had never collaborated over the fretboard. Until now.

I like to think that Neil's interest had been rekindled after listening to some of the early demos of songs for this album (but you'll have to ask him that!).

I'll leave Neil to explain the background: “The idea for the song came from a phone call we received around Christmas from old friends in Liverpool. We hadn't spoken for some years but they preferred a conversation to merely exchanging cards. It stirred memories of happier times instead of the dark ones we've all been experiencing. Vocal distancing, I suppose.

“The lyric has its sombre side, understandably. There's anger at the missteps by our leaders and the human cost which will surely lead to a reckoning. But the song ends in hope – that the world can safely touch again.

“I'm thrilled at how Ian has captured the sentiments musically – the chorus is especially pleasing. It's a finely sung melody and his guitar work shines throughout.”

It was an exciting project for me working with Neil's lyrics (and thanks for your kindcomments) - especially as neither of us had ever written a song this way before. We hope you like it. Warning: There may be more of this new collaboration in the future.

Neil, a former sports editor of The Independent on Sunday, is also the man behind the excellent online music blog Here Comes The Song (herecomesthesong.com) which has become essential reading for anybody interested in songs and songwriting (It even features some blogs by yours truly).

Neil is also a former member of the 1970s/early 80s Liverpool bands Breakdown and About Time, playing guitar, singing and writing many of their original songs.


WORLD THAT CANNOT TOUCH

Sorry if I sounded weary and worn
When we last spoke it was before the storm
Let's take it slow, life's been on hold
Some stories, friend, are better left untold

Memories have never meant so much
Leaning on the past like a crutch
Touching moments
In a world that cannot touch
A world that cannot touch

With every twist of truth, every roll of the dice
A one-sided game of paying the price
Listen to the wise, was it too much to ask?
You can't hide this all behind a mask

Memories have never meant so much
Leaning on the past like a crutch
Touching moments
In a world that cannot touch
A world that cannot touch

Love at a distance, how cruel the glass
Longing for laughter, for this fear to pass
We'll open the door, welcome every face
And embrace, embrace, embrace

Memories have never meant so much
Leaning on the past like a crutch
Touching moments
In a world that cannot touch
A world that cannot touch

Words by Neil Morton. Music by Ian Tasker.

6 GLOVE SHACK

This is expanded from an instrumental I wrote in 2020 for a short film about the local heritage centre where I volunteer in Yeovil. The title comes from the centre’s name - the Community Heritage Access Centre (CHAC) - which, among other things, highlights the area’s history as a centre of glove-making.

Music by Ian Tasker


7 THE NIGHT WATCHMAN

This was inspired by (but not actually about!) a girl who lived opposite when I was living above Eddie’s fish and chip shop in Leeds. These days the lyrics seem decidely voyeuristic and somewhat stalker-ish but were meant (M’lud!) to be more about a longing for the unattainable.

THE NIGHT WATCHMAN

Watching out of my window
At you across the street
Hoping for a glimpse of your body
Why don’t we ever meet?
Making cups of coffee, staring up at you
All that I want you to do is look at me

I lie awake, staring at the sky, counting the stars
Counting the stars
I want you most as the sun goes down

When we pass in the street
Oh, I can’t bring myself to say hello
Don’t even know your name
Couldn't take it if you said no
Well I never felt this way before
There's something about you girl
All that I want you to do is look at me

I lie awake, staring at the sky, counting the stars
Counting ther stars
I want you most as the sun goes down

Imagine my surprise when you
Knocked upon my door
Asked me over to your house
You'd never done that before
You were having a party
We stood and talked by the wall
Now I sit waiting here for you to call

I lie awake, staring at the sky, counting the stars
Counting the stars
I want you most as the sun goes down

Words & Music by Ian Tasker & Peter Monteith


8 I'D RATHER BE YOU

This one is a typical bit of angsty, self-loathing jealousy - written, of course, totally from our imaginations.

I'D RATHER BE YOU

I don’t like going down the pub
I don’t like playing darts
I don’t like going out with girls
I don’t like broken hearts

My clothes are drab, my face is plain
My job is tedious too
My life as it is, is totally dull
I’d much, much rather be you

I’d rather be you, I’d rather be you
I’d rather be you than me
I’d rather be you, be you through and through
I’d rather be you than me

I lie awake at night
Wishing I could be somebody else
I wanna be like you
Even though it doesn’t make much sense

I lie awake at night
Wishing I could be somebody else
I wanna be like you
Even though it doesn’t make much sense

My clothes are drab, my face is plain
My job is tedious too
My life as it is, is totally dull
I’d much, much rather be you

I don’t like going down the pub
I don’t like playing darts
I don’t like going out with girls
I don’t like broken hearts

I’d rather be you, I’d rather be you
I’d rather be you than me
I’d rather be you, be you through and through
I’d rather be you than me

I lie awake at night
Wishing I could be somebody else
I wanna be like you
Even though it doesn’t make much sense

Words & Music by Ian Tasker & Peter Monteith


9 JENNY

The last of my “historical” songs from back in 1980, Jenny, was written shortly after I met the wonderful woman who would later become my wife. I know it’s not Layla or Wonderful Tonight or Something but it means as much to me.

JENNY

I’ve never felt this way in my life before
If this is love then give me some more
You came to me like the sun
From the blue sky above
Pulled away the clouds from my eyes

Ooh, I never thought I coud feel this good
Ah, ‘cos in my dreams I never could
Ooh Jenny, it’s you that I’m thinking of
You, Jenny, it’s you that I love

I can’t stand the time that we’re apart
Leaves me alone with a burning heart
But when you walk through that door to me
You make me just as happy as I coud be

Ooh, I never thought I coud feel this good
Ah, ‘cos in my dreams I never could
Ooh Jenny, it’s you that I’m thinking of
You, Jenny, it’s you that I love

Ooh Jenny, ooh Jenny, mmm mm
Ooh Jenny - it’s you that I’m thinking of
You Jenny - it’s you that I want to love
Ooh Jenny - don’t ever want to let you go
You Jenny - I just love you so

Words & Music by Ian Tasker


10 LOSING TRACK OF TIME

Finally, as I had decided to call this album Losing Track Of Time, to reflect how long I had dithered over making it, I thought I’d better come up with a title track. It’s about however fast time is going by (and boy is it accelerating!), it’s never too late to try something new - witness this album.

LOSING TRACK OF TIME

When you take one step forward
Then slide two steps back
Or outstay your welcome
‘Cos your nerve starts to crack
And when your plans come to nothing
And your life’s on the rack
Then you’re losing track of time

Losing track of time
Losing track of time

When you’ve spent 40 long years
In a dead-end job
Tried to escape
But end up losing the plot
When what you really wanted
Is not what you got
Then you’re losing track of time

Losing track of time
Losing track of time
Time’s running out in an accelerating way
But you’ll never be younger than you are today
So get up off the fence and finally seize the day
Don’t go losing track of time

Your track of time
Don’t go losing track of time

You promised yourself this
And you could have had that
But if you haven’t come close
Then that’s a really sad fact
You’ve counted up the hours
But the hours hit back
So you’re losing track of time

Losing track of time
Losing track of time

Time’s running out in an accelerating way
But you’ll never be younger than you are today
So get up off the fence and finally seize the day
Don’t go losing track of time

Your track of time
Don’t go losing track of time
Losing track of time
Losing track of time
Your track of time
Don’t go losing track of time

Words & Music by Ian Tasker & Peter Monteith

All vocals, guitars and bass by Ian Tasker
All other instrumentation digitally produced in Logic Pro