Balls - Ian Dury

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ISBN: 978-0-85712-121-9

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For Anne

I decided to write this book about the life and music of Ian Dury towards the end of 1998 after attempting to find one and discovering that none existed. It was always my intention for this to be an independent book in which Ians story would be told through those who knew him best. Consequently, the basis for this biography lies in original interviews with more than 50 people conducted between March 1999 and February 2000, and only where necessary have I used previously published material. Despite being an unofficial biography, Ian Dury took a most generous attitude. Towards the latter end of my research, I met him at his home and discussed the book with him, and at no stage did he seek to prevent me from writing his story. Although he did not give an interview himself, he gave his blessing for me to talk to family members and friends and, knowing I was a fan, made it clear that he did not want the book to be a hagiography. For his co-operation, I am sincerely grateful.

To meet and talk with those who knew Ian during his 57 years was never work; it was quite simply a privilege. Without exception, they showed me kindness, sharing their thoughts, memories and, in some cases, treasured possessions with me. They also displayed great patience with my tiresome demands for the dates, places and other minutiae which all go to make up this fascinating, never before told, story. Most importantly of all, they spoke candidly and with great honesty.

My sincerest thanks and appreciation go to the following people: Barry Anderson; Terry Day; Mickey Gallagher (good luck to The Little Mothers); Charlie Gillett; Russell Hardy; Chaz Jankel; Wilko Johnson; Andrew King; Chris Lucas; Gordon and Andra Nelki; Steve Nugent; Humphrey Ocean; Geoff Rigden; Denise Roudette; Charlie Sinclair; Ed and Linda Speight; Stuart Spencer; Johnny Turnbull; Molly Walker; Norman Watt-Roy; Wreckless Eric.

I would also like to express my thanks to the following people, who also kindly gave interviews for this book: Jo Bexley; Mick Blake; Peter Blake; Baxter Dury; Glen Colson; Jenny Cotton; Alan Cowderoy; Germaine Dolan; BP Fallon; Chris Foreman; Hamish Halls; Mick Hill; Ian Horne; Derek The Draw Hussey; Anne Ingle; Jona Lewie; Laurie Lewis; Lene Lovich; Pippa Markham; Stephen Monti; Davey Payne; Rainbow George; Merlin Rhys-Jones; Mary Ritchie; Fred Rowe; Chris Miller (Rat Scabies); Peter Sedgwick; Brigid Slevin; Max Stafford-Clark; Paul Tonkin; Shirlie Watts; Kate Young.

My research was assisted by other people to whom I am also indebted, specifically Roger Dopson at Diamond Recordings; Tony Judge of the Be Stiff official web-site; Noel Slevin at the Finn Valley Voice, Donegal; Chailey Heritage Old Scholars Association; Mrs Taylor whom I met in Front Lane Community Centre, Cranham; Upminster Infants and Junior Schools; The Royal Grammar School, High Wycombe; Eugene Rae, archivist at the Royal College of Art; The Western Mail & Echo Library; The Royal Court Theatre, London; The Haymarket Theatre, Leicester; The Shakespeare Birthplace Trust, Stratford; Len and Lenka Hooper; and my friend and fellow hack Steve Gedge. Jamie Spencer, of East Central One, was an important point of contact for Ian Dury. Also, hello to Jayne Burchell (who probably got help from her mum).

Special thanks also go to Alison Balls, my sister, and Mark Tierney, for allowing me to treat their home like a hotel during my frequent visits in London, my father and mother, John and Sylvia, and my colleague, Eastern Daily Press photographer Bill Smith, who scanned some of the photographs. I am also grateful to Chris Charlesworth, the editor at Omnibus Press, who showed great enthusiasm for this book from the beginning and was always available to provide advice and support.

Most of all, I want to thank Anne Parton, who first encouraged me to write this book and has regretted it ever since. She displayed patience beyond the call of duty during the 12 months in which this book was written and researched and assisted in its preliminary editing.

Richard Balls, February 2000

The London Palladium: 9.10pm, Sunday February 6, 2000.

Through the fine gauze curtain, six dimly lit figures can be seen emerging on to the stage. A huge roar goes up in the theatre and, as the house lights go down, The Blockheads start tuning up for the anthem which has opened every one of their live shows for more than 22 years Wake Up And Make Love With Me. The screen rises, revealing large vases of cut flowers along the front of the stage and a shimmering silvery backdrop. Above the band hangs a banner with the boxer dog in boxer shorts from the cover of the bands latest album Mr Love Pants. Suddenly, the warm-up comes to a halt and the songs unmistakable opening notes pour out from Chaz Jankels piano. A heavy funk rhythm cascades through the speakers, cueing the entrance on stage of one of Britains most charismatic performers.

From the wings, Ian Dury takes to the stage with the aid of a walking stick and two towering chaperones. He is dressed for the show billed New Boots and Panto in a pale blue jacket, black trousers, dark red Dr Martens boots, his trademark white scarf and a grey Trilby hat. Noise swirls around the dark, Edwardian venue and the audience jump to their feet to salute their hero. Looking thin and gaunt, Ian is helped onto a large box and gazes out on the sea of faces through a pair of dark glasses. Smiling sardonically, he raises his hat, his acknowledgement to the crowd; slow, measured, every inch the seasoned performer. Pulling the microphone towards him, he sings in his trademark croaky voice: I come awake, with the gift for womankind/Youre still asleep, but the gift dont seem to mind, and the gig bursts into life.

But tonight the evening is tinged with sadness. In the bars, the stalls and galleries of the Palladium is a collective sense that this may be the last time Ian Dury will ever publicly perform this great sex anthem. Tonight, you cant help feeling, a great English showman is bowing out.

Ian Durys very own Sunday Night At The Palladium would be a fitting finale. As a teenager, his mother had brought him here to see Fifties crooner Johnnie Ray and he had watched in amazement as women flocked to the stage with huge bouquets of flowers. Later, he returned to the famous theatre on assignment for