Honeybus | Interview | Colin Hare
Honeybus was a late sixties UK psych-pop outfit, featuring Pete Dello, Pete Kircher, Colin Hare and Ray Cane.
The band released several singles and two albums in 1970 and 1972. Colin Hare joined Honeybus in 1967. After the band’s demise he recorded his first solo album ‘March Hare’. He’s still very active and released several other albums as well. ‘March Hare’ was originally recorded and released on Penny Farthing Records in 1972, has become a classic album enjoying some six reissues over it’s 50 year existence.
Where and when did you grow up? Was music a big part of your family life?
Colin Hare: I was born in Bath, Somerset, but grew up and went to school in Hornchurch, Essex. UK. I started playing ukulele at eight years and got my first guitar at 12.
First performed before a Church concert audience at 8 years.
When did you begin playing music? What was your first instrument? Who were your major influences?
My mother showed me the first chords on the ukulele. I picked up the guitar and progressed through friends in secondary school. First group influences were The Shadows and later The Beatles. Then also Mozart, Vivaldi and Bob Dylan.
Were you in any bands before forming The Honeycombs?
My first semi-pro band originated from friends in school. We were called Dave And The Strollers. I recorded a demo at Central Sound Studios in Denmark St London, of a song I wrote in 1964. This led to a management contract as a solo singer. I recorded with George Martin at Abbey Road, but was sidelined when his interest in The Beatles took precedence. I eventually joined Honeycombs as a replacement singer when they reformed in late 1965 and toured Israel with them in 1966.
You recorded quite a lot of material as The Honeycombs. What do you recall from those early years?
Recording at Joe Meek’s Home Studio above the leather shop in Finchley Road was quite memorable. We recorded around half a dozen songs. Two of mine are ‘That Loving Feeling’ and ‘Something’s Up Now’. Joe Meek’s ‘Should A Man Cry’ and ‘It’s So Hard To Love You’ by Ken Howard and Howard Blaikley. Joe was a sweet guy, and had a soft spot for “Honey” Langtree.
Can you elaborate the formation of Honeybus?
Honeybus was formed by Pete Dello and Ray Cane 1967. Their first single ‘Delighted To See You’ was recorded with two session men Russ Ballard and Bobby Henrit. It wasn’t a hit but had several BBC Radio plays. Decca wanted promotional photos so Pete and Ray enlisted Pete Kircher on drums. I happened to be walking along Denmark St after leaving the Honeycombs. I spoke to a friend. Told him I was looking for a band and we were standing outside Regent Sound Studio where Honeybus were rehearsing. My friend Grayham said I should go in and introduce myself to a guy called Pete Dello. So I did!
What sort of venues did you play early on?
Mostly clubs in and around London.
How did you decide to use the name “Honeybus”?
Pete Dello liked the idea of honey as he wanted his music to be sweet sounding. He was sitting with Ray in a cafe, a bus passed by and Ray exclaimed “Honeybus”!
What influenced the band’s sound?
The Beatles, The Lovin’ Spoonful, Henry Purcell, Mozart.
“We used a mellotron on the ‘Story’ album and for gigs”
How did you get signed to Deram and what are some recollections from recording ‘Story’?
Pete Dello’s friend Terry Noon was acting manager and the Deram contract was set up at the beginning with a lease tape deal. After our top ten hit with ‘I Can’t Let Maggie Go’, Pete Dello suddenly quit without warning. We were pretty stuck as Pete was the leader and main writer at that time. We used Bill Bremner (Dave Edmunds Rockpile) as a stand-in until Jim Kelly was brought down to London from Dundee.
The pressure from Decca for a follow up single and album was intense. Ray came up with ‘Girl Of Independent Means’ which charted in Holland but not in the UK. Ray took the helm and wrote most of the songs on the ‘Story’ album. ‘How Long’ we all contributed to? I had one or two. ‘Would You Believe’, ‘She’s Out There’ and ‘Scarlet Lady’. ‘I Remember Caroline’ was a joint effort between Ray and myself and how long we all contributed to it.
We used a mellotron on the ‘Story’ album and for gigs. To begin with it was enormous, much bigger and heavier than a Hammond organ. Totally impractical to gig with, which of course we did. Took four of us to get it in and out of the van and once installed on stage invariably didn’t work. The sounds were created by loop tapes hung vertically side by side, any movement or bumping in transit would more often than not unhook the tape pulleys which were held on springs. So they were a roadies nightmare, always needing fixing… At that time the synthesizer was in its infancy so for us it was an opportunity to have a realistic strings and oboe sound on stage. My mum was so pleased when I finally sold it and she got her living room back!
What would be your favourite single?
‘Do I Figure’ which was my first recording session with Honeybus. I remember the London Symphony Orchestra String quartet arriving at the studio and being pretty awestruck when they played. Pete Dello wrote the arrangement and conducted them. It was quite impressive!
You were also a designer. Would you mind sharing a bit of background of what you did?
Some of these bio’s digress a little. I was never a designer as such. In 1979 long after Honeybus’s demise, I returned from London and joined my father who was a signwriter. Strange as it may seem Pete Kircher was also a sign painter and we worked together briefly in the 80’s.
A year after your debut album you released your own solo album, ‘March Hare’. How did that come along and what are some memories from working on your own album?
Once Pete Dello left, his friend Terry Noon did little to promote the band. He is quoted in the press as saying, “Without Pete Dello the magic has left the band”. I think the ‘Story’ album convincingly proves him wrong, but he did begin to encourage us to work on our own projects. Ray wrote and produced other people, one being Jim Kelly with his single ‘Mary Mary’ and ‘Reverend Richard Bailey’, which I recently reissued on my album dedicated to Jim’s memory, ‘For The Benefit Of Mr K’. Pete and I were given the opportunity to produce our own albums with Larry Page on ‘Penny Farthing’. Pete’s was ‘Into Your Ears’ and mine was ‘March Hare’.
Of course all the musicians on both albums were Honeybus. I used Bill Bremner and Jim Kelly and a piano player Pete Kelly in addition to Pete Kircher. I remember driving to LWT Studios the day I was recording ‘Charlie Brown’s Time’. My van broke down on the A13. I had to train it carrying two guitars and my Gran’s clock which I dropped, but the chimes still worked and I wasn’t late!
What about ‘Recital’? What are the circumstances behind this unreleased second album? There were only a couple of test pressings sent to radio stations in the UK and USA, right?
Although the band had split we were still in contact doing bits and pieces. Then suddenly Pete Dello decides he wants to record ‘Recital’. Some tracks I think we may have already recorded previously, I can’t remember. Terry Noon had secured a deal with Warner Brothers, but by the time the album was finished the people involved at Warner Brothers had been sacked and their replacements were not interested in releasing it. So ‘Recital’ sat on the shelf of musical history for 50 years before it was eventually released by the Spanish company Hanky Panky and Mapache on vinyl.
Pete Dello also released a solo album in 1971. Did you participate in ‘Into Your Ears’?
Yes! All Honeybus members were involved.
What happened after the band stopped? Were you still in touch with other members? Is any member still involved with the music?
As I stated earlier we stayed in touch. Pete Kircher ended up playing with Status Quo for a few years then dropped out of music completely. Later joined me, sign writing in the 80s. Ray moved to Perth, Australia. Pete Dello stayed in Wembley teaching. As far as I know I’m the only one still writing and recording! I have six albums available on colinhare.bandcamp.com.
Looking back, what was the highlight of your time in the band? Which songs are you most proud of? Where and when was your most memorable gig?
There were many memorable moments. Escaping from rabid fans by boat in Israel was impressive. TVs in Holland. Top of the Pops. ‘Colour Me Pop’ on BBC 2. Tony Blackburn show. The best University gigs we did with Jim Kelly. I think the track I’m most proud of is the original version of my song ‘For Where Have You Been’ I did with Honeybus.
Is there any unreleased material?
Hanky Panky are in the process of producing an album of live BBC tracks of Honeybus. Some were on the Anthology album on Sanctuary Records from 2002. Some I have included in my own recent albums, and some have not seen the light of day for years. There is also a release in Tokyo this year by Airmail Records of a live soundtrack I did on my tour of Japan in 2008 which I am excited about. It’s called ‘Colin Hare Live in Japan’.
What currently occupies your life?
Apart from home renovation, dog walking and daily yoga, I do get a little time in the studio which is where I’m happiest!
Thank you for taking your time. Last word is yours.
What has been wonderful is that the music we recorded all those years ago still excites me. It is still relevant and my youngest son who is 24 years old and is a heavy metal fan also applauds it along with his friends. I now realize that it will live on long after I am gone. Thanks!
Klemen Breznikar
Colin Hare Bandcamp
Hanky Panky Records Official Website / Facebook / Instagram / Twitter / Bigcartel / YouTube
Mapache Records Official Website / Facebook / Instagram / Twitter
Thank you Klemen for the interview.