Sex & Bowls & Rock and Roll: How I Swapped My Rock Dreams for Village Greens

Sex & Bowls & Rock and Roll

How I swapped my rock dreams for village greens

Alex Marsh

For R, with thanks for putting up with me.

Table of Contents

Cover Page

Title Page

PREFACE

ONE

TWO

THREE

FOUR

FIVE

SIX

SEVEN

EIGHT

NINE

TEN

ELEVEN

TWELVE

THIRTEEN

FOURTEEN

FIFTEEN

SIXTEEN

SEVENTEEN

EIGHTEEN

NINETEEN

TWENTY

TWENTY-ONE

TWENTY-TWO

TWENTY-THREE

TWENTY-FOUR

TWENTY-FIVE

TWENTY-SIX

EPILOGUE

Notes and acknowledgements

About the Author

Copyright

About the Publisher

PREFACE
It was a new day yesterday, but it’s an old one now

‘Are you sure that we’re meant to be here?’ I scuffed my feet over the shingle, not willing to let this go. ‘It doesn’t matter that we’re not members?’

‘I’m a member,’ reassured Big Andy, pulling his bag out of the boot. I was already intimidated by its professionally battered look, as if it had been passed down through generations of top-level bowls players. Big Andy had always struck me as somebody who would be good at any sport – he is just one of those people. Personally, I have always suspected people who are good at sport – I certainly never thought that I’d end up being friends with one. Perhaps his likeability was just a ruse, in order to lull me into a false sense of security before he chucked me in the showers and stole my dinner money.

‘Yes, but we’re not,’ I insisted, jerking my head towards Short Tony who had jumped down from the back seat. At least he would be as culpable as me. Big Andy didn’t answer this, clearly not appreciating my genuine concerns.

I did not even have the right shoes.

The green itself was sheltered behind a low wooden fence that shielded from public view a raised concrete path and two weatherbeaten benches. Big Andy placed his gear on one of these; Short Tony followed suit with me lagging behind, surveying the scene with narrow, wary eyes, Clint Eastwood in A Fistful of Bowls.

‘What if a man comes and shouts at us?’ I wondered aloud.

I have never been a particularly confident type – at least, not without a guitar in my hand. All the key memories from my early life are scary, nerve-inducing ones: accidentally wandering into a fierce lady’s garden in order to pick acorns from her oak tree. Discovering that the hand that I’d reached up to grip tightly for reassurance wasn’t actually my grandmother’s, but belonged to a random stranger who happened to be getting off the same bus. Getting the phone number wrong on a big press advert for the Royal Philharmonic Orchestra and thus ensuring that a Barnet pensioner was telephoned at ten-minute intervals by people seeking tickets for a grand Tchaikovsky gala at the Royal Albert Hall.

There are two types of people in Britain – people with the confidence to take risks with social etiquette, and people who spend their lives concerned that a man will come and shout at them.

‘Who’d shout at us?’ asked Big Andy.

I considered this.

‘The groundsman.’

‘Naaah. He’s fine.’

My nervousness did not abate. I didn’t know any of the other club members and I did not want to start our relationship off on the wrong foot – certainly not as a shoutee.

‘Some other important club official?’

‘Earlier this year, we came up here on our own a lot,’ he insisted. ‘It’s practice. And practice is always encouraged.’

‘Are you sure?’

‘How will you know whether you want to play,’ he demanded, ‘if you don’t know whether you’re any good or not?’

Short Tony, who was looking upon the experiment as the start of a potentially interesting new hobby, similarly did not have proper bowls shoes. But they were at least brown, and from a distance they looked like proper bowls shoes. Mine looked like non-proper non-bowls trainers. I studied the terrain carefully. There was some long grass at the far end, where the green ended and met the farmland beyond. If a man came and shouted at us for playing without permission then I would attempt to quickly step into the long grass, thus camouflaging my footwear and ensuring that he would not be able to follow up his ‘Trespasser!’ shout with: ‘Plus you have not got proper bowls shoes on!’

I tried to make myself relax. It didn’t help that I was probably going to be rubbish at this, and thus make myself look like an idiot. I took a deep breath. There was no man in sight. Instead there was the weak but encouraging-looking sun of an autumnal, early lunchtime casting dewy shadows on an English bowling green.

‘Pint, anyone?’ offered Short Tony, motioning his head towards the big pub that stood looking over us like a comforting older brother appearing with a towel after the rough beating-up kids have been dispersed.

This seemed like a good idea, but I was cautious.

‘Are we allowed?’ I asked. ‘To take drinks onto the green, I mean.’

Short Tony disappeared off to buy beer.

The grass was soft and earthy, with well-worn patches from a season’s play. I padded around guiltily in my clandestine trainers. Big Andy handed me two of his woods; I tossed them down carelessly and they made small indentations in the surface. I drew breath sharply, but no shout came. He then disappeared into the small shed that adjoined the green, re-emerging seconds later with a white ball. Disappearing into a shed! Some people have all the self-confidence. If illegal walking on a bowling green wearing incorrect shoes merited a shout, I was sure that shed-disappearing would warrant at least something cruel and unusual.

The bowls police failed to leap out from behind a hedge and charge us with electric batons.

I picked up a single wood. It was wet from the grass, but felt comfortable in my hand, warm and smooth, not the wood of a guitar body, but a pleasing object nonetheless. I have nice dainty, nimble hands and I suspected that it might be slightly too large a size for them, and perhaps a little heavy for me to be totally sure of control. But I did not say anything for fear of bowls ridicule.

Big Andy, my tutor, lobbed the cott ahead to the other side – it bumped and bobbed on the grass. He then knelt and expertly pitched his wood, which rested intimidatingly close to the target. I watched Short Tony reappear from the pub, ambling up the short hillock and across the gravel car park with a tray of beers the colour of bowls shoes.

And then it was my turn. It is always good to give new things a try. But I couldn’t honestly see it being my sort of thing.

ONE
New towels for the old ceremony

‘Excuse me?’

There is a voice. I turn, surprised, from the post box to locate its source.

A man is ambling over from a small four-by-four thing. He is demonstrably from a town somewhere – it is one of those designer jobs that no genuine country-dweller from round here would dream of possessing. The engine chugs over, chug chug chug chug chug. He is clearly the source of the ‘Excuse me.’ I allow my letter to fall from my hand into the post box’s receptive womb, easing my wrist from its slot and giving my new acquaintance my full attention.

Silver-haired, he is wearing immaculate cream pressed slacks, which reveal that he is comfortably off and retired, and probably has a wife named Pat.

‘I don’t suppose you know where these agents are based?’ He gesticulates towards the ‘For Sale’ sign on the bungalow over the road.

A number of houses around mine are for sale – I do not know whether to take this personally or not. This particular one right opposite has been on the market since about Wednesday, 14th March at 11.32 a.m., and I am excited that I might be meeting a potential new neighbour. New people! I study his face closely. I will need to remember, so that I can report the details back to everybody at the village pub.

I give him the information he requires, waving my hand in the general direction of the coast. He asks me what living in the village is like, and I offer him long examples of how we all know what each other is doing and just pop into each other’s houses to say hello at any time of day or night, sometimes when we have been drinking heavily. It is a neighbourly community like that. He looks a bit less enthusiastic after this, and glances over his shoulder several times as he retreats to his car before accelerating off at some speed, doubtless to catch the estate agents before the shops close for the evening.

He did seem like a pleasant chap, and I am determined to stick by my parting words to him: that I would be quite happy to give him a hand with carrying all his stuff from the van when he eventually moves in.

Before he disappears around the corner, I make sure to take the number of his car. He is not from round here, after all, and he could have been looking at houses for sale with a view to committing some crime. I remember it all the way across the road, all up the path and into the kitchen, where I scribble it on the corner of some newspaper, along with ‘Old bloke. Silver hair. McJeep.’

There is no more excitement, but it will be good to have something extra-interesting to tell the LTLP when she gets home. Time is getting on – I need a bath and something to eat before I go.

I can’t remember exactly when I gave up.

It was probably on a platform at Harringay Station. Perhaps and probably it was raining. Harringay Station in the rain, fighting with hundreds of others for a modicum of shelter under the narrow footbridge, the loudspeaker broadcasting crackling messages of doom from a British Rail announcer based hundreds of miles away in a secret bunker buried deep beneath the Cairngorm mountains.

‘We apologise for the delay to the seven forty-four service to London Moorgate. This service is running approximately fifty-two minutes late. The first train to arrive will be the eight fourteen service, also to London Moorgate. Due to a short train, this service will consist of half a coach only, which will be of convertible open-top design, have no seats, and will be powered by passenger-manned oars. We apologise for any inconvenience that this might possibly cause you. To cheer you up, here is some music by the Stereophonics.’

When I say ‘a platform’, that implies a multitude of the things. In fact, there are but two platforms at Harringay Station. Standing, boxed in, elbow to arse with frustrated Key Account Executives and Change Implementation Managers and Human Resource Officers. Waiting, worrying if the tingly electricness of the rain is a genuine cause for concern as it drips from the overhead power lines onto your face. Pacing, irresistibly tempted to bolt for that footbridge, to leap aboard one of the frequent empty and invariably on-time trains returning north from the City, and head for the overwhelming excitement and vibrancy of Enfield Chase, New Southgate or, at a pinch, even Potter’s Bar. But of course you don’t. The train arrives and you fight for any form of nook, stuffing yourself frantically up against your fellow passengers like a veal calf undergoing sardine-replacement therapy.

Yes, it must have been then that I gave up. Then.

I’ve never given up on the music, however.

OK, I’m a bit older now. But Debbie Harry was already thirty when Blondie was formed; she was thirty-five when they released ‘Atomic’, which would have made her almost as old as I am. And yet she was famous and successful the world over at this late age, becoming an icon and achieving sales in the millions of millions, with men becoming physically sexually aroused – literally sexually aroused – whenever she sang or appeared on Top of the Pops. I’ve almost got there once, having supported the Sultans of Ping on one key date of their seminal 1992 UK tour. But Debbie Harry is one hell of an inspiration, and a lesson to anybody who thinks that exciting popular music can only be made by teenagers. Given just one small lucky break, there really is no reason whatsoever why I should not be the next Debbie Harry, but with women.

I call her ‘the LTLP’ for the purposes of the narrative.

I don’t want to upset her by using her real name. The WAGs are generally lower-key than their football equivalents; more down-to-earth and less publicity-hungry. She is my life-partner and has been for a long time; one of the very few people who have been both WAG and rock-chick wife. Every bowls player needs their Yoko Ono figure. She gives me an airy wave as I leave the house.

The canvas bag is weighty, betraying my relative novice status with its clean newness. It contains my four bowls (or ‘woods’, as we bowls people know them), an old beer towel for wiping purposes and some deeply, deeply unfashionable shoes. You have to have four woods, even though you only ever use two, as otherwise the other bowlers will laugh at you and think that you are some sort of idiot amateur without all the proper equipment. I lug it down the drive, across the road, and then sprint to Big Andy’s as fast as an unfit fat bloke carrying a rigid square bag of heavy bowls implements can sprint. He is jangling car keys impatiently; Mrs Big Andy stands hands-on-hips in their doorway, shaking her head and making ‘have a good evening, if this is really the way you want to spend your Friday night’ noises. I leap into the passenger seat and we are away in a haze of dust and sporting expectation.

In my pocket: house keys, some small change, a mobile phone. A mobile phone! Why do I bother with a mobile phone these days? I do not have important people to call any more; there is no reason why anybody would need to get hold of me. I get the odd text message from Short Tony that simply reads ‘pub?’, but seeing that he lives in the cottage next door you cannot really count the mobile connection as a vital communications lifeline. My mum and dad have a mobile phone but do not know how to use it; the LTLP knows where I’ll be all day. My friend Unlucky John, the only other person in the world whom I speak to, tends to prefer mobile to landline. But he’s in London, where such status is important.

It is a comfort thing, however. I will have it to hand should there be an emergency at bowls. The LTLP’s employers have given her a BlackBerry, which means that half the emails that pop up in my inbox with a cheerful ‘bing!’, causing such excitement and anticipation, turn out to be mundane and uninteresting things like ‘get the dinner on and don’t burn it this time you idiot’. So I took her old phone when my one finally gave up the ghost. It is a bright lurid pink Motorola, small and dainty, and adorned with girlish graphics.

But who cares? Once, this pink phone would have been a shameful accessory for me, as I wandered amidst the Neanderthal plains of people in chequered suits and wanky black-rimmed spectacles, of braying rah rah me me me idiots, of money-and-status-obsessed bottled-beer-drinking, testosteroned pre-Dibley clowns. That’s one of the big advantages of living in a tiny village in Norfolk. Nobody is particularly bothered about the superficial. Just one more stupid unnecessary mental weight that disappears when you leave the world of commuter trains and Strategic HR Initiatives.

It’s an easy-going game; none of the other bowlers really mind if you leave your phone on through the evening. Aside from that one time when it escalated a bit, and people ended up shouting ‘Well fuck you then! Fuck you!’ at each other, across the green. That was an exception.

Personally, I have a system. I keep my mobile phone switched on just in case there is an emergency or somebody important does call – but I make sure that I leave it in the pocket of my anorak which hangs in the clubhouse. That way nobody will hear it ringing and be disturbed during a crucial end. It seems a reasonable compromise.

Yes, my name is Alex Marsh and I play bowls.

I am thirty-thing years old, and I play bowls. Bowls is what I play. I am not ashamed of it; I do not seek to apologise or be defensive. I play bowls. It is not as if I am Mrs Karen Matthews, or have been exposed having sex with livestock on YouTube, or wrote and produced ‘There’s No One Quite Like Grandma’. I play my bowls with pride. I would shout it from the rooftops, but I am afraid of heights.

My name is Alex Marsh and I play bowls. And so does Eddie, and Nigel, and Big Andy, and even John Twonil’s been persuaded to give it a try. We are the exciting new faces of the sport. It sits oddly with the guitar hero status, I know. But there have been stranger combinations. Rock and roll, bowls; bowls, rock and roll. There’s nothing mutually exclusive – it does not need to be an either/or. One does not preclude the other. It is perfectly possible to both jack, and to Fleetwood Mac.

Barry Hearn knows.

Barry Hearn is the legendary sporting Svengali who does the snooker, and boxing, and darts. The man who made Steve Davis. The Don King of Romford. The Billy Graham of the baize. What Barry Hearn doesn’t know about marketing sport isn’t worth knowing. And he thinks bowls is going to be the next thing – which is why he has put it on Sky TV, during peak morning viewing. So scoff at the beautiful sport at your peril.

I suppose I have mixed feelings about this. It is like when you discover a new band – you want them to be your own special band all to yourself. You do not want them to become popular and mainstream and put on by consensus as background music at dinner parties. And whilst wishing your special band all the goodwill in the world, you would rather that they starved in the gutter than enjoyed any form of commercial success, as this would spoil it for you.

Something a bit like that happened to my own band. However, more of that later.

Will bowls as we know it survive the Sky TV experience? Will it retain its unique nature, or will it sell out to the forces of Evil Marketing? Will the money grow and nurture it, or will it corrupt it? Will it retain the nobility of sport, or will it descend into a new WWF pantomime?

The television camera itself is a great distortion pedal, a two-dimensional screen that loses the subtleties and many of the unsubtleties also. When you watch cricket, it’s impossible to judge how fast the bowler’s letting the ball go – you have to work it out from where the wicket keeper’s standing. Football is robbed of the intense physical aspect, horse racing is sterile without the flying hooves and mud; long pots on the snooker table appear easy and unmissable. I would not want the casual Sky TV viewer to see what I do every week and to dismiss it casually as some gentle meandering pastime. That would be crushing. But I think Barry Hearn and I are on the same wavelength.

Barry Hearn knows that it’s the new rock and roll.

‘Here you go.’

Nigel strides like a parade sergeant before the row of benches, where we are sitting changing into our deeply, deeply unfashionable shoes. He stops at each player and hands out new kit from a plastic bag – a brand-new, pristine, never-been-used, soft and lovely Stella Artois beer towel.

‘Thanks!’ I say in surprise.

‘I got them from work,’ he explains, moving on to Glen. ‘Given to me.’

Along the line, people take their towels and beam in gratitude, holding them up to look closer. Matching beer towels! The whole thing looks bloody professional, in tune with the new image of bowls, a co-ordinated wave of red that will raise pride and morale in the team, aside from providing more efficient wiping.

That’s us. The village bowls team. Sponsored by Wifebeater Lager.

It’s just a roll-up tonight. No opposition – merely a friendly opportunity to get together and to have a bit of practice before the league starts in earnest. But there is still a buzz of excitement in the air. The dawn of a new season – the first date on my headlining UK tour. The bowling green is my raised stage; the woods are my guitar, and the mat represents my effects pedals. I have not actually ever been on a headlining UK tour, but the parallel is there. The scoreboard is my set list; the beer towel is my guitar lead. Nigel, skipper of our block, is my bass player; Big Andy is my drummer. We don’t have a screaming hysterical audience of teenage girls – our most loyal and regular supporter has been unable to turn out to spectate since he got his foot amputated – although Eileen is here, and she sometimes likes to sit and watch, chucking in the odd heckle, in lieu of playing. But the parallel is definitely there.

I am pleased with my analogy. Songwriting is all about analogies – good songwriting is all about unexpected, hidden ones. ‘There She Goes’ by the La’s is about heroin, not a lady who is going. Really, playing bowls is just like being in a successful rock band. I can’t really see many differences.

Big Andy, Nigel and I do play like a well-drilled trio. We are comfortable in each other’s presence; there is a telepathy between the three of us, like Cream (featuring Eric Clapton). We don’t feel under pressure in front of each other; we barrack and praise each other in equal measure, and we go to the village pub afterwards. That’s the difference between a ‘side’ and a ‘team’, although just to be confusing, in bowls it is called a ‘block’. We are settled together this year – I have high hopes that our near-telepathic understanding will give us a big advantage. There is mutual respect and support there.

There are moments in making music when it all comes together. When you’re rehearsing a new song, the band hits a new chord change, someone drops in a phrase, hits a particular note and it’s just – right. You catch the eye of the bass player, of the drummer, and you know. That’s a magic moment. The tension resolved; the song opens out into perfection.

It’s the same when the skip bowls and you can see the wood coming towards the pack – slowing and arcing for the gap you pointed out, running out its weight perfectly, nudging past the short woods, skipping the bare patch, squeezing through the narrowest of spaces and finally falling to a halt touching the cott itself. It’s magic, it’s perfect. It’s like the big piano chord at the end of ‘A Day in the Life’.

It’s time to start playing again.