MIDDLETON'S MUSICAL MILESTONES

Whoever said that nice guys don’t make it got it wrong. Freddie Middleton is the boss of the Irish branch of BMG, one of the largest record companies in the world. He is also one of the nicest guys you could meet. He also happens to be extremely dedicated, enthusiastic, hard-working - and very good at his job. That, of course, is what really matters. Because when you’ve got those kind of qualities going for you, you don’t need to be ruthless or unpleasant. Far better to lead by example.
Middleton started officially in the business with the fancy title of Promotions Assistant with EMI Ireland just over 20 years ago, on Monday 30th September 1974. On that same day, Leo Sayer - one of EMI’s big acts at that time - was due to play a concert at the Carlton in Dublin, an occasional venue for gigs way back then.
Freddie hardly had enough time to try on his desk on that first morning when Derry O’Brien, now with the Irish Export Board, and then Marketing Manager at EMI, asked him to go to Dublin Airport to welcome Leo and his band to Ireland. He travelled to the airport in an American limo driven by Joe Headon (who sadly died a few years ago). Joe had driven many of the stars on their visits to Ireland and his advice was of great value to the new boy on his first somewhat daunting assignment.
In those relatively innocent days it was possible to go out to the steps of a plane to welcome celebrities, clear them speedily through customs and into their waiting limos. Middleton and promoter Jim Aiken watched as the band disembarked. Middleton eagerly spotted a curly-headed medium-sized guy and immediately rushed forward to shake his famous hands. To his eternal embarrassment our man had picked one of the crew, who quickly and politely pointed EMI’s finest in the direction of Mr and Mrs Sayer.
En route to The Gresham Hotel they all laughed at the mix-up. Inevitably, however, in the music business, these sort of incidents gradually become transformed into minor legends, and whenever Leo is back in Ireland he never misses an opportunity to remind Freddie of his first-day blunder.
Freddie came into the music industry by what is probably a typically circuitous route. Before joining EMI, he worked at Hammond Lane Metal Co. and in the VHI in the underwriting department. He had also dabbled with the notion of becoming a DJ and in time did quite a few parties and clubs, including gigs at such hot-spots as Tiffanys, behind Roches Store, and at Taylors Grange, now Marleys, where he continued to work until 1981. As he told Hot Press, “There were many other clubs like Lord Johns, Charlies, and so on and functions at which I did gigs. I got the DJ bug hearing Pat Egan and John Hodges in The Moulin Rouge in George’s Street, The River Club and Zhivago. At that time Andy Devereaux, now at The Sunday World, was running The Revolution where bands like Mud were frequent visitors.”
Other DJs he recalls with fondness from the time were Pat Arnold, Stevie and Smiley Bolger, Jock Mac Donald, Jason Maine, Derry Glennard and Tony Johnson, as well as Jim Aiken’s current press man Chris Roche (then known as Chris Day). So Middleton’s contact with the public and his increasing knowledge of music were distinct advantages when he scored a full-time job in the music industry, moving into a branch of Dolphin Discs. From there, it was a small but significant leap which took him to EMI, and the record company side of the fence.
It was, needless to say, a different world then. Showbands were still the dominant force here and it difficult to get exposure for quality Irish and international music. The media was far more restricted - there was no 2FM, no Hot Press, no independent radio and far fewer column inches devoted to music in the national press. The music journalists he remembers from that time were Ken Stewart, Tony Wilson, Mick Carwood, James Morrissey, Fachtna O’Kelly (who later managed The Boomtown Rats and Sinead O’Connor) - most of whom have inevitably, gone on to better things, with Stewart for example, now handling Billboard’s brief in Ireland. Freddie met Bob Geldof for the first time at a Gary Glitter press reception held by EMI in The Gresham, which was the nearest thing Dublin then had to a rock’n’roll hotel.
Middleton remained at EMI from ‘74 to ‘84 and among the highlights of these ten years were visits to Ireland by Queen with whom he enjoyed a very private dinner and good crack after a concert. The visit of the Rolling Stones - then with EMI - to Slane was another highlight of his career - though the day itself was not without it problems. As media co-ordinator, it was Middleton’s job to operate the media gate from dawn, ensuring that everyone had the correct accreditation. Later in the day, as a BBC crew strolled around filming the scenes, Bill Graham (the U.S. promoter) pulled up to him on his moped and angrily demanded to know why Middleton had given them accreditation and permission to film.
“I insisted that I had only admitted Irish media,” Freddie recalls “but he bellowed at me that I would never work another day in the business!”. To that Middleton immediately and politely responded, “Mr. Graham, on Monday you will be in another country at the next Stones gig and I will be in my office in Dublin.” It’s a story which further underlines the fact that being ignorant doesn’t get you what you want.
Another interesting night was taking Brian May to The Chariot Inn to see Joe Dolan - though what the Queen guitarist made of the man from Mullingar’s extraordinary voice remains uncertain. Perhaps he was scouting for an eventual replacement for Freddie? Dolan certainly has the vocal range (among other things!).
With EMI, where he eventually became their Marketing Manager, Middleton shared many a good, and some not-quite-so-good story with a whole cavalcade of stars, from the Bay City Rollers, Crystal Gayle and Dr. Feelgood to Showaddywaddy, Gary Glitter and Kate Bush. But overall it’s an era he looks back on with great affection.
In 1984 Dave Pennefather, then General Manager at RCA, told Middleton he was moving to MCA. After two intense interviews, and against some hot competition, Middleton became General Manager of RCA Ireland, which of course became BMG Records when BMG bought RCA in 1987.
On reflection, he believes that while the seventies were more fun, the eighties and nineties have been more rewarding, with the highlights coming through achievements rather than occasions. “While at RCA, Dave Pennefather had broken Chris Rea to amazing success in Ireland,” he recounts “and it was my first real task at RCA to maintain that level of success. In ‘85 we released Shamrock Diaries and backed with a sell-out nationwide tour the album reached No. 1 and thankfully we sustained Chris’ popularity in the process.”
Rea is one of Middleton’s favourite artists and is a known wind-up merchant. One example of this occurred when he played at the RDS. As Middleton reached the door of the press hospitality area, the security staff refused him admission because he did not have the correct passes. “As the door opened to allow someone else in I spotted Chris chatting to some friends. I asked the staff to ask him to identify me and to send out an artists’ pass. Chris looked over, looked blankly at me and said ‘I never saw that man in my life’. Fortunately Jim Aiken arrived and I was allowed in. Chris was in stitches and I have to say we had a great laugh,” he recalls.
The Eurythmics’ Point Theatre concerts in 1989 will stand out among the best Middleton has ever seen - and not just because they were (or are!) a BMG act. Earlier in that week BMG held a launch party for the album We Too Are One at The National Concert Hall, a venue thought to be unusual for a rock album launch. However it turned out to be a very pleasurable success for the band, the label and their marketing man.
Other highlights at BMG have been Niamh Kavanagh’s 1993 Eurovision win, an involvement with which gave him a real sense of pride as well as a great buzz. Kavanagh’s debut album is due soon and Middleton is highly enthusiastic about it. Not that this is BMG’s only involvement with Irish acts. On the international labels, the presence of Clannad, Maire Brennan, The Chieftains and James Galway keeps the Irish office very busy indeed.
“The media element of my work is the area I enjoy most,” Freddie reflects. “I still get the same buzz as I did when I started out when one of our records is on the radio or a BMG artist is featured on TV or in the press. As a record company person, that is what you live and work for - to turn the raw material of bands, musicians and artists into the magic stuff of success. When I recently visited the RTE reception loaded down with two boxes of CDs I remarked that I was still servicing singles to radio after 20 years and it felt as good as it did in 1974.
“It is not a job that one can easily switch off from and those who love it rarely do. I listen to music all day, watch music on TV at night or go to gigs. I buy most magazines and newspapers. I think it’s probably an addiction - but it’s not as harmful as others!,” he jokes.
As a major player in the Irish industry, Middleton’s responsibilities have included chairing the IRMA Awards for three years. This is his tenth year on the committee and he also serves on the IFPI committee and on the Board of PPI. “I would see the removal of Duty, which had been a major impediment to the growth and development of the industry here, as one of the most important achievements of the IFPI”, he says.
Middleton is genuinely committed to the Irish industry - both to building the strength of the record companies here and to supporting and nurturing Irish talent. Both of course would have the inevitable effect of increasing and improving employment prospects overall. It is therefore a real cause for celebration, in his twentieth year in the business, for Middleton to have achieved two number one singles with tracks which were not originated in London or the U.S. The first was The Irish Soccer Squad’s ‘Watch Your House For Ireland’, the profits from which will go to GOAL for Rwanda. Being a big fan of the team it was a real thrill for Middleton to attend the recording and work with some of the players throughout the promotion. The second number one is the music from the Guinness TV commercial, which has knocked ‘Riverdance’ from the top spot (making it two Irish success stories in a row, pop-pickers).
Aslan’s two top 5 comeback singles with ‘Crazy World’ and ‘Where’s The Sun’ have also given the BMG team a real sense of satisfaction, showing what a multi-national company can do for genuine Irish talent when someone with the commitment of a Freddie Middleton gets behind it. That said, Freddie would be the first to share that credit with Joe Stuart who has been working alongside him since ‘87. In the same light Planet Fabulous from Something Happens is another piece of work of which Freddie can justifiably be proud.
Under Middleton’s management BMG has expanded in Ireland recently with the addition of Debbie Cleary (Administration) and Michael Burke (Sales). Joe Stuart is also heavily involved in Sales but he has broadened his role, especially into the A & R area. Their fifth staffer is Kathryn Mason who - when she’s not busy being Take That’s No. 1 fan - has the frequently onerous task of taking care of press and promotions.
Freddie Middleton is deeply committed to continuing BMG’s Irish growth over the coming years, so who knows what fresh achievements he will be able to celebrate after thirty years in the business come 2004? In the meantime we can only wish him as much success over the next twenty as he has achieved over the past twenty.

FREDDIE MIDDLETON IS GOD!

A totally unbiased look at one man’s career in the record business. By George Byrne.

IT’S A credit not only to his own ability at his job but also a tribute to the tolerance of those within the Irish music industry, that someone can rack up twenty years in the trade despite being named after a small town in Cork. Maybe it’s just that people are ever so fond of Midleton the place and Middleton the man that they let it slide but it could all have been so different had he been monikered Freddie Fermoy, Freddie Foxford or even Freddie Fighting Cocks Cross Roads, the latter being a particularly frightening thought. (And isn’t it lucky no one ever spotted what his initials stand for? - Ed.)
But beneath the affable exterior and, er, colourful jackets what kind of a slavering rock ‘n’ roll monster lies barely restrained? Can some foul Jekyll & Hyde transformation take place when sufficient loosening juice has been consumed? This is, after all, a man who once celebrated his birthday with a slap-up meal in Le Caprice but chose to grace the occasion by sending the waiter out for a constant supply of pints of Smithwicks. Hmmh, I think this bears further investigation.

SCREAMING GIRLS

“I don’t think it’s right that I should speak disrespectfully of my elders,” was MCA head Dave Pennefather’s circumspect reply when probed about any potentially dark secrets in Freddie’s closet. “He came to RCA in ‘84. We’d more or less revived Chris Rea’s career with the Watersign album and were instrumental in the next two records Wired To The Moon and Shamrock Diaries, which for some strange reason kept cropping up in print as Shamrock Dairies! The latter album was backed up by a two-week Irish tour sponsored by West Coast Cooler and Freddie went out for the whole thing . . . from what I hear it was fairly rock ‘n’ roll, but I’ve already said too much!”
“He was a frequent visitor to The Revolution in the early days,” recalls Andy Devereaux of Sunday World. “I’d book the bands in to the Rev for 120 quid, free gargle and they’d probably get a ride as well . . . great days. Freddie was with EMI at the time so he’d be looking after the likes of Mud, The Bay City Rollers or whoever happened to be in town for television work or bigger gigs.” Yeah, and? “In all that time I never saw him step out of line once!”
Ferchrissakes, here we are dealing with looney tunes Rockin’ times - when Chris Roche was calling himself Chris Day and people like Smiley Bolger, Jimmy Greeley, Mick Carwood and Tony Johnson were doing a fair take on the antics in Hammer Of The Gods - and we haven’t turned up a sordid anecdote yet.
“Well there was that time with The Bay City Rollers,” says Andy. Now we’re getting somewhere... unspeakable acts with depraved members of the opposite sex, large bamboozlers and Colombian Mrs Cullen’s perhaps?
“No, nothing like that I’m afraid,” comes the disappointing answer.” It was when the band were at the height of their popularity and they were playing at The Star Cinema in Crumlin. As you know there were hordes of screaming girls trying to get to the band, so Freddie and a couple of other lads from EMI dressed up in the tartan gear and did a decoy dash to a limo while the Rollers legged it out the back in a battered old van. If one of them had slipped they’d probably have been torn to pieces regardless of who they were!”

SKELETON'S BONES

Elsewhere you can find the details of Freddie’s clash with the late and legendary promoter Bill Graham but surely in two-score summers (Very poetic, George - Ed) of dealing with artists on tour certain sets of feathers must have been ruffled.
“There would have been the odd clash,” says Jim Aiken,” but that’s inevitable when you have record companies and promoters meeting head-on and sometimes getting their wires crossed. If a concert is a flop the tendency is for the record company to blame the promoter and vice versa but if it’s a success then everything is down to the artist, but I have to say that I utterly respect Freddie as a gentleman in the business.”
On the evidence gathered thus far Mother Teresa looks like a more depraved version of Heidi Fleiss, so surely those hard livin’ lads from Aslan can rattle a few of the skeleton’s bones?
“Freddie Middleton is an example to all of us as to how we should live our lives,” is Billy McGuinness’ awed comment. “Whenever we feel that maybe we’re overdoing things a bit we just stop for a moment and think "Hang on men, Freddie wouldn’t be at this sort of carry-on’ and that kind of brings us back down to earth. I’m amazed he hasn’t been canonised yet.”
Give it time Billy . . . give it time!

THANK GOD IT’S FREDDIE!

THIS BUSINESS is a queer one. Everyone tells you that it’s all about people - and in a sense that’s true. But when you’ve been around it for a while, it’s easy to become disenchanted with it all, for that very reason.
Sometimes you wonder can these folks be for real - the egomaniacs and the bullies and the posers who seem to line every boulevard of Music Row, the World. The higher you go in the industry, the worse it gets - or so it often seems. Sure, there are good guys running some of the biggest operations in the world, but you don’t have to ingest extracts from The Hit Man every morning to know all about the charlatans and the spoofs.
Which is why it’s a pleasure to do business with Freddie Middleton. I first met him when he was working for EMI, as Derry O’Brien’s assistant and he was a personable, likable, decent, straightforward fellow then. Twenty years later, that description still fits like a glove. Which makes maintaining a relationship very easy. You know where you stand and you get on with it. And if there is any hitch or problem, then it’s nothing that can’t be sorted out with a simple telephone call.

SIGNING OF ASLAN

Of course Freddie brings other vital qualities to his job. Among them is a real commitment to Irish music - which stands him in good stead dealing with BMG artists like Clannad, The Chieftains and Maire Ni Bhraonain. But latterly it has found an even more potent expression in a series of new associations which have broken new ground for BMG here. Something Happens’ excellent Planet Fabulous was released via the German multi-national in Ireland and the Hunter S label has also been licensed, The Revenants’ Horse Of A Different Colour album offering the company something to be proud of in artistic terms.
This commitment has found its most promising expression however, in the signing of Aslan to BMG worldwide - a decision which both Freddie and his A&R sidekick Joe Stuart were determined to bring to fruition ever since the band reformed, close to two years ago. Now the album is recorded and ready for release; here’s hoping it does the business. Because it would be an apt climax to Freddie Middleton’s first twenty years in the business if he signed an act that went mega.

Here’s to it.

Niall Stokes