By the mid-fifties, bedrooms up and down the land were reverberating with the sound of cheap guitars and makeshift percussion instruments as kids attempted to emulate their hero Lonnie Donegan. For a pair of siblings living in Howeth Road, Ensbury Park, a northerly suburb of Bournemouth, skiffle was the spark that ignited a lifelong passion for music. Michael Rex Giles was born on Sunday 1st March 1942 in Waterlooville, Hampshire and gravitated towards the drums while his younger brother Peter Anthony, born Saturday 17th June 1944 in Havant, Hampshire, favoured the guitar.
In some ways they had a jump on the other kids as their father was a talented portrait artist and violinist who encouraged his sons to appreciate many types of music, particularly classical and jazz. Michael wasn’t taken with the classics but found an affinity with jazz and would bash along to Count Basie and Duke Ellington records on an array of upturned saucepans and biscuit tins. The brothers passed their Eleven Plus exams and gained entry into the local grammar, Bournemouth School for Boys, where they met another budding guitarist, Roger Collis. Fired up by skiffle and the rock n’ roll records starting to trickle over the Atlantic, the trio formed a group and, like many Bournemouth combos of the day, began their playing careers in front of rowdy juvenile audiences at the Moderne cinema in Winton. Eventually Mike’s all-consuming dedication to music overtook any lingering interest he might have had for the world of academia and he was expelled from school, but not before knocking up a pair of drumsticks on a lathe in woodwork class.
In 1959 Mike passed his driving test and took a job as a delivery driver, a handy occupation for a musician with a drum kit to ferry around, as he had joined his first proper group, Johnny King and the Raiders. The rest of the line-up comprised of his friend from school Roger Collis on guitar, vocalist / bassist Johnny King and the ephemeral figure of guitarist Dave Wilson who quickly gave way to Graham ‘Wes’ Douglas. It soon became apparent that Johnny was a better vocalist than he was an instrumentalist and he relinquished his position in the bass department to the fifteen-year-old Peter Giles, who stepped in with a newly acquired semi-acoustic Hofner. Their repertoire of Gene Vincent, Chuck Berry and Eddie Cochran covers found favour with audiences at the Bure Club, Downstairs Club and the Yeovil Drill Hall where they regularly provided musical accompaniment to the ongoing booze fueled punch ups between the hard nut local youths and the battle ready squaddies billeted nearby at the Yeovilton army camp. On one particular night the larger-than-life figure of Zoot Money sat in with the group and made a mental note of their talented guitarist Roger Collis. Within weeks Zoot had lured Roger away to join Roger Bone and Pat ‘Pee Wee’ Sheehan in his new outfit, The Blackhawks. The Raiders elected to soldier on as a quartet until August 1961 when the brothers threw in their lot with guitarist Al Kirtley and vocalist Tony ‘Dave Anthony’ Head in Dave Anthony and the Rebels. The new combo, now with a certain Cal Thorpe on drums (inspired by his favoured mode of transport a Calthorpe motorcycle, Mike adopted the name and stencilled it on his bass drum) only managed a handful of gigs before the curse of Mr. Money struck again.
Zoot was on the hunt for musicians again and tempted Al away to join Roger Collis, Mike Montgomery and Johnny Hammond in his embryonic Big Roll Band. Michael and Peter were left out on a limb but not for long, as they were on the radar of the Dowland brothers who had spotted them with Johnny King and the Raiders at a ‘Battle of the Bands’ competition at the Westover Road ice rink back in the summer of 1961. They joined guitarist Roy Phillips in the Dowlands backing band The Drovers and after time signed a recording contract with the independent record producer Joe Meek who changed their name to The Soundtracks. During their two-year tenure they accompanied the Dowlands on three unsuccessful singles released on the independent UK label Oriole. However, by the autumn of 1963 the pair had tired of the dated Everly Brothers inspired material and energized by the originality of The Beatles, left for pastures new. Ironically, the Dowlands next single was a cover of The Beatles “All My Loving”, a top forty hit.
And so the musical merry-go-round continued. Al Kirtley left the Big Roll Band after they moved to London in an abortive attempt to go professional and enlisted former Raider’s guitarist Graham ‘Wes’ Douglas and the newly unemployed Giles brothers into his new venture the Sands Combo. However, their tenure lasted barely two months before they were lured away to join former Big Roll Band refugee Roger Collis and saxophonist Kevin Drake in The Interns after drummer Peter Brookes walked out and bassist John Rostill packed his bags and followed the yellow brick road to London where he replaced Brian ‘Licorice’ Locking in The Shadows. The Interns new line-up racked up a mere three weeks together before a disillusioned Collis finally tired of the ongoing toing and froing quit. After three years, hundreds of gigs and three singles, the brothers were still semi-pro and slogging away at day jobs in Bournemouth. Michael worked for a company organising fetes and Peter was a fitter for a local soft furnishing company. Finally, a route out of the nine-to-five existence into a professional music career presented itself at the fag end of 1963.
Roy Simon, a forty one year old director of a local clothing manufacturer, fancied himself as the next Brian Epstein and rather ambitiously placed an advertisement in a music paper looking for musicians to form a group to rival The Beatles. Michael and Peter passed the audition and joined pianist Al Kirtley (b. 20th December 1942 at the Pine Lea Nursing Home, West Way, Bournemouth) from The Sands Combo, who had been given a heads up on the vacancy through local music agent Vic Allen, guitarist Geoff Robison from the Johnny Quantrose Five and bizarrely a trombonist, Mike ‘Tram’ Blakesley from Joe E. Brown and the Dixielanders. Roy believed beat music wouldn’t last and being a jazz lover thought a trombone would give the band a wider appeal. With all the components in place, Trendsetters Ltd. sprang into action with a busy rehearsal schedule at the Cat & Canary Club in Sea Road, Boscombe, a guest appearance on Southern Television’s Three Go Round with Henry Mancini and four fifteen minute radio slots on Radio Luxembourg. Their first single, “In A Big Way”, was released in March 1964 on the same label as The Beatles, Parlophone. Written by Geoff Robinson, it would be the guitarist’s only input, apart from a writing credit for “Move on Over” the B side of their second single, as he decided not to become the next John Lennon and stepped aside for Bruce Turner (b. 1941 in Stoke-On-Trent), a former member of The Fairways from Andover. Al Kirtley was also having second thoughts as he was agonising over turning professional or playing it safe by staying with his job in the bank, he chose the latter and the joint manager of Le Disque a Go Go, Allan Azern (b. October 1941 in Bournemouth), took over the piano stool. The new line-up recorded a further two singles in 1964, “Hello Josephine” and “Go Away” and “You Sure Got a Funny Way of Showing Your Love” in 1965, but like many groups before and after them, a dearth of good original material curtailed their recording career.
Hits may have eluded them, but gigs didn’t. Their booking agent worked tirelessly securing dates all over the UK, although the calibre of venues varied. Bernard Manning’s Embassy Club in Manchester was particularly memorable due to the brusque manner in which the comedian hauled acts off stage if he didn’t think they were up to scratch. Luckily he liked our boys. Then there was the famous Cavern Club in Liverpool, a windowless, unventilated former warehouse cellar that exuded the stench of stale cigarette smoke, fried food, sweat and San Izal disinfectant from the overflowing toilets.
However, it wasn’t just a slog around the northern club circuit. There was a theatre tour with The Drifters in the spring of 1966, a one-off gig broadcast by the BBC from the ‘Ideal Homes Exhibition’ in Earls Court and support slots with Gerry and Pacemakers and Billy J Kramer and the Dakotas. Plus, like many groups of the period, they served three tours of duty in the bierkellers of Germany playing seven exhausting nights a week. To help break the monotony and to give Blakesley’s lips a rest from continually blowing trombone, the band developed a comedy routine with Pete mimicking Peter Cook and Allan taking on the part of Dudley Moore, as the two comedians were very popular back in the UK because of their prime time TV show Not Only But Also. Of course the skits went straight over the German heads as they didn’t have a clue who Pete and Dud were and their funny voices made it almost impossible for the English speaking punters to decipher what the pair were saying. More light relief from the grind came with a series of dates supporting Bo Diddley and backing their hero Gene Vincent on his thirtieth birthday, it made the whole trip worthwhile.
By the autumn of 1966 Trendsetters Ltd. had slimmed down in both members and name. Bruce Turner returned to his hometown of Andover to hook up with The Loot, leaving the remaining quartet to become the shorter Trend. As a changing musical landscape pushed groups into ever expanding experimental waters, the brothers knuckled down and began writing their own material. Although their first single in November, “Boyfriends and Girlfriends”, for Larry Page’s Page One label was a Syd Jacobson and Fred Anisfield cover. The flip, “Shot on Sight”, was written by Michael Giles and drew its inspiration from the recordings emanating from Memphis on the Stax label. Six months later they had changed their name once again to The Brain and released “Kick the Donkey”, an unremarkable song that resembled Sam the Sham and the Pharaohs “Wooly Bully”, while the bizarre flip side was a different kettle of fish altogether. Written by Peter Giles, the demented “Nightmares in Red” with Goon style utterances, shrieks and laughter interspersed with cacophonous musical interludes, proved to be a portent of things to come. While they were in Abbey Road studios The Brain also recorded a cover of Dylan’s “Most Likely You Go Your Way” and three originals “Murder”, “Nobody Knows the Game” and “One in a Million” with Al Kirtley deputising on piano and accordion, but the tracks didn’t see the light of day for forty years when they finally popped up on a compilation CD. When Allan Azern and Mike Blakesley also deserted the sinking ship, the brothers drew up plans to move to London and start afresh, but not before placing an advertisement for a vocalist cum keyboard player in the local newspaper. After sifting through a host of unsuitable applicants, they plumped for a non-singing guitarist from Wimborne called Robert Fripp.
On paper Bob wasn’t the ideal candidate, he didn’t play keyboards and he couldn’t sing, but the Giles brothers were intrigued and invited him to an audition at the Beacon Royal Hotel on 28th August 1967. They were impressed with his confidence, musical knowledge and superior equipment, but the clincher was Doug Ward. Apparently the accordion player who Fripp had been accompanying at the Chewton Glen Hotel near New Milton, could secure them a residency at a restaurant in London, Robert was in. Within days the brothers and Fripp were back at the Beacon rehearsing and recording original material on a Revox tape machine Peter Giles had bought from their previous employers the Dowlands, Al Kirtley also came along to help on piano. In September the trio set off for the capital with the promise of a gig backing the Flowerpot Men however, on arrival the agent John Martin told them they were no longer needed and sent them home with a fiver for their troubles. A month later they were back, this time with Doug Ward in tow and moved into 93a Brondesbury Road, Kilburn.
Billed as the Douglas Ward Quartet, the four musicians readied themselves for the pre-arranged residency at La Dolce Vita restaurant in Soho, fate stepped in before they got the chance to play a note. Driving home through the busy London traffic, Doug got into an altercation with a bunch of bully boys after a near miss and ended up in hospital after receiving a severe beating. The dates were cancelled. On his discharge Doug decided London wasn’t for him and signed onto the QE2 inviting Bob to join him, but the guitarist declined. As for our intrepid trio, they took a gig at the sister restaurant La Dolce Notte backing a diminutive singer / guitarist they nick-named ‘Hot-lips’ Moreno until a fall out with the owner over money left them unemployed once again. Despondent, Bob returned to Wimborne in December and spent the duration of the lucrative Christmas and New Year season in the Majestic Dance Orchestra while Mike, in an even more precarious predicament with a wife and two small children back home, picked up odd drumming jobs.
During their short time in London several contacts had been made and one with Peter Shelley of Decca Records bore fruit. They won a one off record deal and recorded an album, The Cheerful Insanity of Giles, Giles and Fripp for Deram, the progressive subsidiary of Decca. Divided into two suites, ”The Saga of Rodney Toady” and “Just George”, the collection of psychedelia, pop, jazz and spoken word pieces were weird even by the standards of the day. “One in a Million” was chosen as a taster single but flopped along with the album. Dismissed in many quarters as either quaint, gibberish, whimsical or rubbish in equal measures. It may be bonkers but the album is worth a listen if only for “North Meadow”, a reflection on the countryside surrounding Bournemouth by Peter, “One in a Million”, a flight of whimsy from the pen of Mike, “Suite No. 1”, an impressive exercise in cross picking by Fripp and “Erudite Eyes”, a pointer to what was to come later with King Crimson.
In July 1968 while scouring the musicians wanted column in the Melody Maker, Peter came across an advertisement for a bassist and guitarist placed by the former Fairport Convention singer Judy Dyble. Hoping that it might lead to paid work, he rang the number and spoke to Ian McDonald, a former army bandsman and talented multi-instrumentalist. Detecting a meeting of minds, he invited McDonald and Dyble over to Brondesbury Road for a jam. They hit it off immediately, apart from Dyble, who passed on the project and formed Trader Horn with Jackie McAuley formerly of Them instead. A few weeks later the new line-up with McDonald in tow, were invited back to the studio to re-cut two songs, “Thursday Morning” and “Elephant Song” for release as a second single. Revamped with flute, clarinet and harmonies added by McDonald, the extra fairy dust did little to boost its commercial viability and it sank like its predecessor. Sensing that money, or lack of, was an issue Ian approached his wealthy step-uncle Angus Hunking and secured financial backing on the promise that the loan would be reimbursed when the band turned a profit. To supplement their meagre income, Michael found a regular gig with the Mike Morton Band playing covers, Peter undertook sporadic dates with a quartet backing a blind organist back at the La Dolce Vita and Fripp stayed at home dispensing guitar lessons. In 2001 a CD of twenty one demos recorded at home on Peter’s trusty revox gained a release as The Brondesbury Tapes (1968) on the Voiceprint imprint. It is fascinating to eavesdrop on the inner workings of the trio with Ian McDonald and Judy Dyble, as they meticulously crafted the songs that would make up their one and only album, plus a couple of takes of “I Talk to the Wind” which ended up on the first King Crimson album.
As winter approached Peter’s time spent networking bore fruit once again. The BBC invited Giles, Giles and Fripp to record a half hour TV slot for the teen music show Colour me Pop, a spinoff of the arts magazine programme Late Night Line-Up. Broadcast on 30th November 1968, the band mimed to eight songs but unfortunately, like virtually everything else taped by the BBC in the sixties, it has been wiped. No doubt a high point in their career so far, along with an appearance on BBC radios My Kind of Folk with Bournemouth’s Al Stewart, the hoped for flood of work expected on the back of the exposure failed to materialise. Fed up with the lack of success and money, Peter Giles called time on the band and moved to an address in Clapham Common where he set about finding a “proper job”. The remaining members pressed on with their musical vision and channelled their thoughts into finding a suitable replacement. Fripp suggested his old college friend from Bournemouth, Greg Lake, who accepted the invitation and moved into Brondesbury Road before rehearsals started in January 1969.
The newly christened King Crimson made their debut on 23rd February 1969 at the Change Is club in Newcastle which primed the band for their first London shows at the Speakeasy, Marquee, Lyceum and Revolution Club where they dazzled the hard to impress hip audiences and hard boiled music hacks. In June, Enthoven and Gaydon pulled off a masterstroke. The Rolling Stones were organising a concert in Hyde Park on 5th July and the pair wangled the band onto the bill along with Family, Roy Harper, The Third Ear Band, the Battered Ornaments, Alexis Korner and Screw. Brian Jones had been fired from the Stones a month prior, because of his ongoing drug problems and inability to get a work permit for the United States, which stymied any chance of the Stones touring there. The concert had originally been arranged to unveil his replacement, guitarist Mick Taylor, but fate struck on the evening of 3rd July when Jones was found face down in a swimming pool at his home, Cotchford Farm in Sussex. Because of Jones tragic death, the gig became a memorial concert for the late Stone. Crimson were second on the bill and their storming half hour, seven song set them won a standing ovation from the estimated crowd of 300,000 people and positive reviews in the music press.
Flushed with success the band knuckled down to recording their debut album. After two aborted attempts with unsuitable producers, the band finally got down to business at Wessex Studios and produced In the Court of the Crimson King with no outside help apart from assistance from engineers Robin Thompson and Tony Page. Released on 12th October 1969 housed in a startling sleeve painted by Barry Godber, the reception was decidedly mixed. Some critics were ecstatic at the variety and dynamism of music on display, like the scribe at the Melody Maker, “This eagerly awaited first album is no disappointment and confirms their reputation as one of the most important new groups for some time”. While others were not so complimentary, showing disappointment after their incendiary live dates. The Who’s Pete Townsend gave it a ringing endorsement calling the record “an uncanny masterpiece” and the fans agreed by pushing it up to number five in the album charts.
As their burgeoning reputation spread across the Atlantic, a tour of America was arranged, taking in the major cities on the east and west coasts plus the northern hubs of Chicago and Detroit. However, despite rave reviews on the way to the final date in San Francisco McDonald and Giles confided in Fripp that they were leaving the band. Both hated flying and the boredom of endlessly hanging around waiting for show time had become mind-numbingly tedious. Michael also wanted to spend more time with his new partner Mary Land, who he had recently taken up with after splitting from his wife. Greg Lake got wind of the impending mutiny and secured his future by making a pact in the bar at the Fillmore West with Keith Emerson. They would return to the UK and form ELP with the drummer Carl Palmer.
After a promising start King Crimson were all but dead in the water after one album, eighty gigs and barely one year in existence. Despite being severely depleted, Island still exerted pressure on Fripp and Sinfield for a swift follow up to their debut. After drawing a blank finding replacements and a veto from Fripp blocking an attempt by their management team to appoint Elton John as vocalist, Lake was persuaded to delay his departure but not before negotiating Crimson’s WEM PA system as payment. As for the rhythm section, Michael and Peter Giles were invited back on a strict session basis and McDonald’s absence was filled by the jazz pianist Keith Tippett and Mel Collins from the band Circus on flute and saxophone. Fripp’s old school friend Gordon Haskell provided vocals on the track “Cadence and Cascade”. The first fruits of the temporary line-up’s labour came in the shape of a single, “Cat Food”, a perfectly decent rock song ambushed by discordant noodling from Tippett. A mimed appearance on Top of the Pops did little to help sales. Released on the 15th May, In the Wake of Poseidon sold well and garnered mostly positive reviews, although the consensus at the time thought it was too similar to its predecessor, almost to the point of imitation. Bizarrely the cobbled together line-up delivered the highest placed album in the bands history, one chart position higher than In the Court of the Crimson King at number four.
As promised, after an intense eighteen months and much critical success, Michael Giles and Ian McDonald departed the Crimson fold. They decamped to Island’s Basing Street Studios to work on an album with Peter Giles, Stevie Winwood and ex Trendsetters Ltd. trombonist Michael Blakesley. The recording of what was to become McDonald and Giles dragged on for months as they deliberated over sound choices and overdubs, which impacted on the mixing stage, causing costs to spiral. The finished album finally saw the light of day in November 1970, selling modestly to Crimson fans looking for more of the same. In fact, Fripp has stated that it could almost have been one half of the second King Crimson album if they had stayed together. The only difference being the conscious decision to steer clear of the darker challenging passages associated with their former band in favour of a lighter pastoral feel. Reviews in the main were positive with Disc and Music Echo commenting, “Unlike King Crimson there is little or no aggression in the music. Instead it projects warmth, and the romantic double cover is very appropriate. An excellent debut”. The gatefold sleeve in question depicted the pair walking through Richmond Park in London with their spouses, looking happy and contented. Although for McDonald the contentment was not to last, within a matter of months the pair parted company and McDonald left for New York where he eventually co-founded the hugely successful AOR band Foreigner with Mick Jones and Lou Gramm. As for Mike, he remained in London becoming a session musician while Peter Giles returned to his day job. The lack of promotion and gigs scuppered any hope of the record making headway commercially and it languished in relative obscurity before its inevitable relegation into the bargain bins.
In the summer of 1970 Mike hopped across the Solent to Afton Down with Terry Reid, multi-instrumentalist David Lindley and bassist Lee Miles to play a well-received set at the third ‘Isle of Wight Festival’. He was sitting in for the absent Alan White who was honouring a prior commitment to record with John Lennon. Reid, known as ‘Superlungs’, was a talented vocalist who had been Jimmy Page’s first choice to front the New Yardbirds on a short Scandinavian tour but he deferred because of his busy solo career and nominated Robert Plant in his place, the rest as they say is history.
A couple of years later Mike turned up on a trio of albums by Jackson Heights, a quartet assembled by the Nice bassist Lee Jackson after Keith Emerson abandoned ship and buddied up with Greg Lake and Carl Palmer in ELP. The original band recorded an acoustic soft rock debut album called King Progress which was a million miles away from the proto neoclassical progressive rock of his former band. The band then drifted apart, only for Jackson to resuscitate the group a couple of months later with two multi-instrumentalists, John McBurnie and Brian Chatton. The new formation recorded three albums with Mike on drums, 5th Avenue Bus, Ragamuffins Fool and Bump N’ Grind. In 1974 Jackson called time on Jackson Heights and returned to the progressive rock arena with his former band mate drummer Brian ‘Blinky’ Davison and the Swiss keyboard player Patrick Moraz in the short-lived Refugee. Mike moved on to Grimms, an anarchic poetry cum comedy conglomerate made up of ex-members of the Bonzo Dog Band, Scaffold and the Liverpool Scene. He joined Bournemouth’s own clown prince Zoot Money, who was already in residence on piano and remained long enough to appear on their self-titled live album recorded in Liverpool and London. Mike and Zoot departed shortly after.
As the seventies progressed Mike popped up and on a variety of releases accompanying Leo Sayer, Rupert Hine, Bridget St. John, Kevin Ayers, Anthony Phillips and Chapman and Whitney’s Streetwalkers. He also became a member of Neil Sedaka’s touring band along with future Police guitarist Andy Summers and appeared alongside the Royal Philharmonic Orchestra on the American singer / songwriter’s Live at the Festival Hall album. He then joined a stellar cast of musicians on Roger Glover’s much lauded musical interpretation of The Butterfly Ball and Grasshopper’s Feast based on the 1802 children’s poem of the same name by William Roscoe. The Deep Purple bassist pulled in favours from his friends in the rock fraternity including Ronnie James Dio, David Coverdale, Tony Ashton, Ray Fenwick, Glenn Hughes, Eddie Jobson, Eddie Hardin and the very un-rock n’ roll accordion player Jack Emblow. The resulting record became so popular it birthed a live concert at the Royal Albert Hall and a video starring many of the artists from the album, sans Michael.
On completion of his home recording facility Cottage Studios in Dorset, Mike began work on his first and only solo album to date, Progress. Apart from his usual go to collaborators, brother Peter and Michael Blakesley, he called on pianists Dave McRae and John Mealing, multi-instrumentalist Geoffrey Richardson, a brass section comprising of Martin Drover, Ray Warleigh, Jimmy Hastings and Pete Thoms plus vocalist Catherine Howe. Unfortunately the jazz / rock concept of short and concise train related titles such as “Departure”, “Rolling”, “Shunter” and “Arrival” was out of step with current musical trends and without label support, sat on a shelf for twenty-five-years until Voiceprint saw fit to release it on CD. Another recording from the period that remained in the can for several years was the collaboration with ex-King Crimson percussionist Jamie Muir and guitarist David Cunningham for director Ken McMullen’s 1983 film Ghost Dance. The atmospheric blips, beeps and drones remained unheard until the mid-nineties, a decade that saw Mike all but disappear from view, apart from an appearance on the title track of Bryan Ferry’s Taxi and the song “Demimonde” on Ian McDonald’s solo album Driver’s Eyes.
In 2002 Michael and Peter formed the 21st Century Schizoid Band with previous Crimson alumni Mel Collins and Ian McDonald plus a stand in Robert Fripp, Mike’s son-in-law and guitarist / vocalist Jakko Jakszyk (he had married Mike’s daughter Amanda). Performing songs mainly drawn from the first four King Crimson albums along with a smattering of originals from their respective solo careers, the band proved a popular draw. But yet again the reluctance to tour prompted Michael to hand over the drum stool to Ian Wallace after a series of dates in Japan. The following year the band encountered financial and logistical difficulties, and concerts ceased in 2007. Wallace’s untimely death brought the curtain down on any more Schizoid activity. In total, they recorded five self-financed live albums and released a highly recommended DVD filmed in Tokyo.
Never one to partake in recreational drug use or follow fleeting fads and trends, Mike channelled all his energy into becoming the best musician he could be. He is a consummate drummer who is held in high esteem by his peers and fans alike. His distaste for touring has kept him out of the limelight but allowed him time to become a much sought after session musician. To date, he has guested on over forty-five albums, but he will always be inexorably linked with his highly inventive work on the first two King Crimson albums. His latest venture Mad Band is an experimental, improvisational percussion trio with Ad Chivers and Dan Pennie. They have undertaken sporadic concerts and recorded two CD’s, The Adventures of and In the Moment, which featured sometime Crimson collaborator Keith Tippett on piano.
Peter Giles has worked as a computer operator, a solicitor’s clerk and for the Performing Rights Society collecting unpaid royalties. He rarely shows his head above the parapet apart from when his brother calls. He lives in Surrey where he is an elite distance runner and makes music with his wife Yasmine under the name of Aluna. A highly talented bass guitarist and perfect foil to his brother’s complex rhythms he has preferred to let the world of performance and recording pass him by but when he contributes, his playing is inventive without being over fussy, it’s just a shame there is not more for us to enjoy.
To sample their early work with the Dowlands, Trendsetters Ltd., The Trend and The Brain, try the CD The Giles Brothers 1962-1967 on the Voiceprint label.
Special thanks go to Al Kirtley for emails and photographs.
Michael and Peter Giles Discography
The Dowlands and the Soundtracks Singles
Little Sue c/w Julie: Oriole (CB 1748) 1962
Big Big Fella c/w Don’t Ever Change: Oriole (CB 1781) 1962
Break Ups c/w A Love Like Ours: Oriole (CB 1815) 1963
Trendsetters Ltd. Singles
In A Big Way c/w Lucky Date: Parlophone (R5118) 1964
Hello Josephine c/w Move on Over: Parlophone (R5161) 1964
Go Away c/w Lollipops and Roses: Parlophone (R5191) 1964
You Sure Got a Funny Way of Showing Your Love c/w I’m Coming Home: Parlophone (R5324) 1965
Boyfriends and Girlfriends c/w Shot on Sight: Page One (POF 004) 1966
The Brain Single
Kick the Donkey c/w Nightmares in Red: Parlophone (R 5595) 1967
Giles, Giles and Fripp Singles
One in a Million c/w Newly Weds: Deram (DM 188) 1968
Thursday Morning c/w Elephant Song: Deram (DM 210) 1968
Giles, Giles and Fripp Albums
The Cheerful Insanity of Giles, Giles and Fripp: Deram (DML/SML 1022) 1968
Metaphormosis: Tenth Planet (TP 049) 2001 Vinyl compilation
The Brondesbury Tapes (1968): Voiceprint (VP 235CD) 2001 CD compilation
King Crimson Singles
The Court of the Crimson King Pt. 1 c/w The Court of the Crimson King Pt. 2: Island (WIP 6071) 1969
Cat Food c/w Groon: Island (WIP 6080) 1970
King Crimson Albums
In the Court of the Crimson King: Island (ILPS 9111) 1969
In the Wake of Poseidon: Island (ILPS 9127) 1970
Live in Hyde Park (July 5th 1969): Discipline Global Mobile (CLUB12) 2002
McDonald and Giles Album
McDonald and Giles: Island (ILPS 9126) 1970
Michael Giles Album
Progress: Voiceprint (VP246CD) 2002
Mad Band Albums
The Adventures of: Mad Band (SDM001CD) 2009
In the Moment: Mad Band (SDM002CD) 2011
21st Century Schizoid Band Albums
Official Bootleg Volume One: Self Released (SB 001) 2002 Live in Mark Angelo Studio’s
Live in Japan: Self Released (SB 003) 2003 Live in Tokyo, Japan
Live in Italy: Self Released (SB 003) 2003 Live Forli and Sarzana, Italy
In The Live of Crimson King: Highland (H620/621) 2003 Live Robin 2, Wolverhampton
In Concert (Live in Japan & Ital): Castle Music 2005 Two for one CD
Pictures of a City: Live in New York: Iceni (ICNCD 2006) 2006 Live BB King’s Blues Club
The Giles Brothers Album
The Giles Brothers 1962 – 1967: Voiceprint (VP5000CD) 2009 CD compilation
Michael Giles Albums as a Guest
Luther Grosvenor: Under Open Skies: Island (85 747) 1970
Kenny Young: Clever Dogs Chase the Sun: Warner Brothers (K 46111) 1971
Duffy Power: Duffy Power: GSF Records (GSF-S-1005) 1972
B.J. Cole: The New Hovering Dog: United Artists (UAS 29418) 1972
Jackson Heights: 5th Avenue Bus: Vertigo (6360 067) 1972
Jackson Heights: Ragamuffins Fool: Vertigo (6360 077) 1972
Jackson Heights: Bump N’ Grind: Vertigo (6360 092) 1973
Ken Tobias: The Magic’s in the Music: MGM (SE-4917) 1973
Grimms: Grimms: Island (HELP 11) 1973
J. Arnau: B. J. Arnau: RCA (SF 8363) 1973
Rupert Hine: Unfinished Picture: Purple Records (TPSA 7509) 1973
The Olsen Brothers: For What We Are: Phillips 6318 015() 1973
Leo Sayer: Silverbird: Chrysalis (CHR 1050) 1973
Leo Sayer: Just a Boy: Chrysalis (CHR 1068) 1974
Chapman, Whitney Streetwalkers: Streetwalkers: Reprise (K 54017) 1974
Bridget St. John: Jumble Queen: Chrysalis (CHR 1062) 1974
Kevin Ayers: The Confessions of Dr. Dream and Other Stories: Island (ILPS 9263) 1974
Mick Audsley: Storyboard: Sonet (SNTF 659) 1974
Steve Swindell: Messages: RCA Victor (LPL1 5057) 1974
Neil Sedaka: Live at the Festival Hall: Polydor (2383 299) 1974
Various Artists: The Butterfly Ball and Grasshopper’s Feast: Purple Records (TPSA 7514) 1974
Leo Sayer: Another Year: Chrysalis (CHR 1087) 1975
Gay and Terry Woods: Backwoods: Polydor (2383 322) 1975
Lennie McDonald: Hard Road: Arista (ARTY 117) 1975
Catherine Howe: Harry: RCA (SF 8407) 1975
Brian Potheroe: I/You: Chrysalis (CHR 1108) 1976
Catherine Howe: Silent Mother Nature: RCA (RS 1041) 1976
John G. Perry: Sunset Wadding: Decca (SKL 5233) 1976
Nutshell: Flyawat: Myrrh (MYR 1056) 1977
Bardot: Rocking in Rhythm: RCA Victor (PL 25121) 1978
Garth Hewitt: I’m Grateful: Myrrh (MYR 1080) 1978
Anthony Phillips: Wise After the Event: Arista (SPART 1063) 1978
Anthony Phillips: Sides: Vertigo (9124 362) 1979
Nutshell: Believe it or Not: Myrrh (MYR 1084) 1979
The Penguin Café Orchestra: Broadcasting From Home: EG (EGED 38) 1984
Bryan Ferry: Taxi: Virgin (V 2700) 1993
John G. Perry: Seabird: Voiceprint (VP169CD) 1995
Jamie Muir and David Cunningham: Ghost Dance: Piano (PIANO 502) 1995
Ian McDonald: Driver’s Eyes: Camino Records (CAMCD 18) 1999
Terry Reid: Silver White Light: Live at the Isle of Wight 1970: Water (WATER 108) 2004
Graham Bonnet: Graham Bonnet: Voiceprint (604388335824) 2011
Morgan / Tandy: Earthrise: Rock Legacy (ROL 2011) 2011