A Bold Claim Indeed
As Peter Anderson listened to me enthuse about the idea of a show based around the music of the Eagles, he knew then that
it would be the greatest challenge we had ever undertaken. We had first met in a band called Recovery in November 1978, and
although our musical backgrounds had been quite different, it was evident right from the start that there was a rapport and
vocal blend that was to be the backbone of our success over the next thirty years. The band split after Christmas 1981. Pete
and I however remained good friends and three years later formed a duo called Deuce. A year later we changed the name of the act,
reverting to our surnames, and in January 1986 the name Lloyd & Anderson was introduced for the first time.
Lloyd & Anderson publicity shot
taken in July 1989
Peter and me on Canberra's farewell
cruise in September 1997. Pictured
here with comedian John Evans
and singer-songwriter Gerrard Kenny
Over the next twelve years we would bill alongside countless household names, receive several awards, record five albums and make
T.V. appearances for both the B.B.C. and Central Television. From 1990 we would make frequent visits to our second home aboard the
SS Canberra. Now there we were. It was September 1997 and about to join our beloved ship for the last time for her farewell cruise.
In a bar somewhere in Gibraltar we relived past glory's and discussed our new venture.
Leaving aside the fact that it would be a technical nightmare, where were we going to find three other musicians of all round
ability, total commitment and probably most important, possessing the necessary vocal range, blend and quality to recreate such
a unique sound?
Our first port of call was an obvious one. Simon Millest had studied drums and percussion under the guidance of top London session
player Bob Armstrong and was soon to find himself working with many famous artistes. His reputation for a no nonsense "lay it down"
approach also became the instant appeal for many recording stars. We first met Si in the summer of 1988. We remained close friends
throughout the nineties and were delighted when he agreed to be a part of our new project. A deal was then secured with Chris Chaplin
(Production Manager of the de-commissioned Canberra). The technical nightmare had just been reduced to a major headache. It was Pete
who received the phone call from the agent in South Wales. "He's perfect" he said. "He's just returned from the States. A superb bass
player with a brilliant voice". Welshman Mark Jones had spent many years with headline bands with top 40 chart successes in Germany
and Japan. Far reaching tours across all of Europe had earned him wide recognition. Now, as he drove to the meeting, he wasn't at
all convinced he was doing the right thing. After all, this was a bold claim indeed. To recreate the sound of the Eagles... and
from scratch! Still, the agent had assured him, "these guys are real pro's. Trust me. You won't be wasting your time"... The respect
was mutual and almost as instant as the chemistry. All we needed now was a brilliant guitarist who was totally committed to the cause.
Having keyboard skills was preferred. Being a great singer was essential. Conrad Carpenter was all these things and more. Rarely does
an individual receive such admiration from his peers. He was also the final piece in the jigsaw.
Vocal rehearsals began in October 1997. Then later, full rehearsals. First in a disused cinema in Newport, to the back room in an
abandoned Motel in Leicestershire. Opening night came all too soon. It was Wednesday the 28th of January 1998 at the Hunters Moon,
Castle Bromwich near Birmingham. The atmosphere was tense but the time for talking was over. It was time to deliver. It was the
beginning of Talon.
Chapter 2: April Fools
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