AIDS: THE LOST VOICES
JOHN LEWIS was a Canadian-born music composer who gained a bachelor in Music, along with several awards and distinctions before heading to Rome to compose under German composer Hans Werner Henze.
As the 1970s got underway John came to London and immersed himself in music composition, a score for Ballet Rambert one of his first major commissions. Then a chance encounter and an interest in buying a synthesiser led John to join Brian Hodgson at his established, Electrophon Studio in Covent Garden. The pair composed music, released albums, and worked with well-known names on the music scene.
However, with all the trappings of London’s gay scene and the creative circles John no doubt mingled and networked. Little did he know a silent and deadly pandemic was looming - AIDS.
IN ORDER OF PODCAST EPISODE - CLICK TO ENLARGE (OPENS IN NEW WINDOW)
BY WILLIAM HAMPSON
LEWIS, Reginald John: was born on 26th July 1944 in Davidson, Saskatchewan, Canada. John and his older brother of five years, David, were born to parents David Reginald Lewis and Minnie Anne Bigg.
While John’s mother Minnie (‘Mickey’ to those that knew her) was born in Saskatchewan in 1912. Her father Robert was born in Milton, Kent and her mother Minnie was born in Farnham, Surrey. John’s father, David Reginald was born in Wrexham, Wales in 1908 before emigrating to Canada in 1911 aged 3 with his parents.
John’s Childhood Home
John’s father worked as an accountant for a lumber company and Minnie worked alongside her husband as his ‘assistant clerk’ once their sons had finished school and left home. The family moved from Davidson, Saskatchewan to Edmonton, Alberta where John attended the Virginia Park School, a stone’s throw from the family’s modest home on 74 St NW. John then moved on to St Stephen’s College at the University of Alberta in 1962 where he studied English, philosophy, and fine art - Music.
May 1963 saw John appear in the Radio listings in the local press with a regular 1-hour slot playing the organ on Canada’s CKUA Radio Station. Where John soon becomes their music commentator.
Edmonton Journal 17 Jul 1967
Notably, during his university years, John preferred to drop his forename ‘Reginald’ given his yearbook photographs are cited as ‘John Lewis’ and referenced in the index as ‘Reginald John Lewis’. By 1964 John is a member of the St Stephens College House Committee and also part of the college fraternity choir taking part in the 12th annual ‘Songfest 64’, as a bass singer.
Calgary Herald 24 June 1964
In the same year of 1964, on the 24th of June John received ‘The Eva Shaw Memorial Prize in Music’ after being nominated by the University Department of Music for being a student of “outstanding merit”.
In 1966 Alberta University broadcast their ‘Concert Hall Series’ on the CKUA Radio Station. Where, a composition by John, amongst six other students had been chosen to be broadcast on 7th May 1966.
By November of that year, John put forward an application that was endorsed by the University and put before the committee for one of the world’s most prestigious scholarships - Rhodes. The scholarship was so prestigious that to be endorsed by the University an applicant was not only required to possess a bachelor’s degree but also demonstrate “outstanding academic achievement”. John found himself competing with two of his peers, Mr Clogg a bachelor of Commerce, and Mr McKenzie, a bachelor of Geography. A committee panel of seven headed by Justice Kane, a former Rhodes scholar himself, and judge at the Alberta Supreme Court awarded the scholarship to Mr McKenzie on 21 November 1966.
John in his final year at Alberta University in 1967, is photographed for the Edmonton Journal sitting at the piano. The article reports 22-year-old John, the prize student of Miss Archer - his associate professor in the serious study of the art of composition, has been selected as Alberta’s representative for a centennial workshop.
John’s specially created composition for the occasion was played by the Winnipeg Symphony Orchestra - “a real thrill for him since it will be the first time his work has been performed by a full orchestra and a major one at that”. [Edmonton Journal]
John was also commissioned to compose for the Da Camera Singers for the centennial year and the 24-voice ensemble performed John’s commision ‘What the Vintners Buy’.
Edmonton Journal 23 May 1967
John gained his Bachelor of Music, announced in the Edmonton Journal on 23 May 1967. He continued to broadcast on CKUA Radio as a Music Commentator in his regular slots and remained the Music Director at the Highlands United Church, a position he had held since 1966.
John’s Parents Reg & Minnie placed an announcement in their local newspaper, the Brooks Bulletin on 25th April 1968. In it, they congratulate John on winning a British Commonwealth Scholarship to “continue his music studies in London, England”. Before heading to London John played in various concerts in association with Alberta University & an organ concert at St. Joseph Cathedral, 1st August 1968.
John is listed in the British Commonwealth Scholarship directory, and most likely arrived in London mid-late August 1968 to begin his scholarship in September of the same year. It is not clear where in London John took up his scholarship [possibly South Kensington Institute]. But he is credited with composing music for the performance of “Alternations” by Gregg Mayher, a New York dancer in the Daily Telegraph on 10th November 1969. Mayher was an ‘American Modern Dance’ teacher at South Kensington Institute [Imperial College] and the Dance Centre which was located at 12 Floral Street, Covent Garden. John would return to this genre when commissioned by Ballet Rambert in a few years.
1975: Where Are We Captain?.. Hodgson/Lewis
In 1975 John and Brian Hodgson released their first album ‘Where Are We Captain'?’ under their duo ‘Wavemaker’. On the sleeve of the album John states in the blurb “John Lewis, Bachelor of Music, composer, studied advanced composition with Hans Werner Henze in Rome”. It can only be assumed John studied Advanced composition with Hans Werner Henze in Rome in the years 1970 - 1972. With the above, John Lewis is next credited in The Daily Telegraph on 26 April 1973, having composed music for “Red-shift” directed by dancer Carolyn Carlson.
After a visit to the Ballet Rambert archives, I learned John was “commissioned 1973” to write the score of Isolde, choreographed by Norman Morrice. The score had its premiere at Sadler’s Wells Theatre on 27th September 1973. John was also credited as the Assistant Music Director as the company toured the country. Isolde was reported widely in the press before its last performance on 13 October 1973 at the Sunderland Empire. John’s original score, in his own hand, is stored in the Rambert Archive.
John remained with Ballet Rambert where he was commissioned to compose the score for ‘Spindrift’ again choreographed by Norman Morrice which premiered at the Camden Roundhouse on 17th April 1974. John was credited with writing the score, and touring with the company as Assistant Musical Director, and pianist in performances up and down the UK. In the absence of John the accomplished Carlos Miranda occasionally assumed the role. Spindrift was last performed at the Theatre Y Werin on 3rd May 1975. Sadly the Score is not held in the Rambert Archives.
In 1972 a 32-year-old Brian Hodgson of the BBC Radiophonic Workshop founded ‘Electrophon Music Ltd’ after withdrawing his pension and leaving the BBC. In a corner of a warehouse full of industry creatives at 8-10 Neal’s Yard, Covent Garden Brian was joined by Radiophonic colleague Delia Derbyshire, who soon after left London for the North of England.
Brian, also commissioned by Ballet Rambert to compose music had on occasion bumped into John at the Rambert rehearsal rooms and studio along with social events for industry creatives.
Sometime in early 1974, John, interested in buying a synthesiser stopsped by the Electrophon studio in the hope Brian would guide him with his purchase. The pair took the short walk to Tottenham Court Road, stopping at music shops no doubt down the side streets such as Denmark Street - Britain’s ‘Tin Pan Alley’ which by the 80s was littered with music shops, some still trading today.
However, it was the lack of knowledge of synthesisers by music shop owners that led Brian to suggest John partner with him at Electrophon. Brian was highly regarded for the quality of his studio equipment and it just made sense the two come together in a creative partnership. The pair set about creating and releasing albums, including under the duo ‘Wavemaker’ while recording and producing their own work along with other artists. The sample below is not exhaustive as the pair also produced music for film and television including for documentaries and commercials, radio commercials and plays.
WHERE ARE WE CAPTAIN
Wavemaker 1975
Brian Hodgson & John Lewis
NEW ATLANTIS
Wavemaker 1977
Brian Hodgson & John Lewis
FILM: THE LEGEND OF HELL HOUSE
Electrophon 1973
Brian Hodgson & Delia Derbyshire
IN A COVENT GARDEN
Electrophon 1973
Brian Hodgson & Dudley Simpson
ZYGOAT
Electrophon 1974
Brian Hodgson & Burt Alcantara
FURTHER THOUGHTS ON THE CLASSICS
Electrophon 1975
Brian Hodgson & Dudley Simpson
ENCORE ELECTRONICS
Electrophon 1975
Brian Hodgson & John Lewis
MICKEY MOONSHINE
Electrophon 1977
John Lewis & Ben Cross
TUNNEL OF LOVE
Electrophon 1977
John Lewis & Ben Cross
THE FAST SET
REC: Electrophon 1980
B: Produced by John Lewis
I’M A COMPUTER - PETE DAVIES
REC: Electrophon 1980
Pete Davies / Produced Fortuna Productions
John with a firm friend and creative partner in Brian Hodgson and with their music studio, Electrophon - which had its fair share of hard times as well as the good. The pair had by now had several record albums under their belts, having composed music for several ballets, and various other musical works and artists, John had achieved so much at the age of thirty-one.
But, 1976 brought news that John’s father ‘D. Reginald Lewis’ had passed away on 28th May at Brooks General Hospital, Alberta, Canada - after a short illness.
The following year, 1977, Brian and John under their ‘Wavemaker’ name released their second album ‘New Atlantis’ with Polydor Records. Another album meant another launch party in the rafters of the Electrophon Warehouse in Neal’s Yard. Guests were treated to a giant bowl of Covent Gardens finest British strawberries, cream, and many cases of sparkling wine from Oddbins on St. Martin’s Lane. With a nod to times gone by Brian’s good friend Kath Keeley, [Keeley’s - a traditional Covent Garden family] decorated the rafters with garlands of hops.
Around December 1977 Brian Hodgson left the Electrophon Studio after being invited to return to the BBC Radiophonic Workshop. Brian and John naturally remained firm friends and Brian recalled jovially, that he was allowed to use the Electrophon studio for other projects without being charged.
John, now found himself alone at Electrophon and also lived alone in the flat he rented in Earls Court. John kept himself fit with regular visits to the “fitness centre” and was a keen swimmer. With his handsome good look’s and his gay clone image he was not short of male attention. After all, John was living in Earl’s Court, the very heart of London’s gay capital in 70s and 80s, way before it moved to Soho. In 1978 John moved to a two-bedroom upper-ground flat at 59 Elsham Road, London, W14 - a property in the borough of Kensington & Chelsea that had just been converted into flats two years prior.
Album sleeve: Click to read about John
In 1977 Electrophon produced two tracks under the name ‘Wavemaker +’, the plus symbol perhaps a nod to Ben Cross being an addition to the the usual Wavemaker duo of Brian Hodgson and John Lewis. Although Brian Hodgson confirmed he had no real involvement in the record. ‘Tunnel of Love’ and the ‘B’ side ‘Mickey Moonshine’ - originally called ‘Tapioca’ were both written by John Lewis and Ben Cross, a star of stage and screen. It was released through Polydor Records on 16th September 1977.
‘Trouble with the Tune’ (left) was composed by John and the lyrics written by Ben Cross, specifically for the Swingle II Singers. John is also credited as playing the “electronic keyboard” on the recording at CBS Studios in London, ahead of the 1977 release of the album ‘Pieces of Eight’. But John was no stranger to the Swingles and was considered a friend, after having been a pianist at several of their performances.
Brian Hodgson recalled John often ended his working day at their Electrophon studio, and spent his evenings playing in London’s musical theatre orchestras. It was one of those nights when John bumped into the manager of the Swingles and later arranged a meeting at the Electrophon studio.
Brian and John had been briefed not to mention the manager’s towering height, as he was a tad sensitive. Brian, laughing, recalled as soon as the manager walked in John had a ‘foot in mouth’ moment.
Guitarist Pete Davies, John’s flatmate in 1979 also recalled the Swingles calling in on John at his Elsham Road home to “…do some swingling” [singing].
John Lewis had met Robin Scott around a year after arriving in London in 1969. While John was classically trained musically Robin shared he admired John’s creative ability to explore and push musical boundaries.
It was a visit to see John at the Electrophon Studio, Neal’s Yard that Robin remarked “Wow, very fresh, very different” with regard to the music John was now producing. Robin and John would then come together to work on Pop Muzik, an absolute iconic track of the 80s, 90s and even 00s.
WRITTEN BY M - ROBIN SCOTT
John Lewis's contribution from my point of view was unique. Unwittingly he was a musical catalyst to a classic recording in 1979.
Sadly, in all the articles following his death, he was not featured for his most notorious association in the mainstream of Popular Music.
I found him quite secretive with regard to his sexual orientation, which was a shame as he might have had a more liberating influence on the creative path of so many gay artists who now receive recognition without inhibition.
Without a doubt, he was very driven and gifted offering his artistic insight to many collaborators without reserve.
I am easily reminded of his creative enthusiasm when recalling early days rehearsing songs of mine in preparation for BBC radio broadcasts in a church at Notting Hill Gate. I was exploring the folk music genre with alternative musical ideas and John was so supportive and intrigued by my quirky musical delivery as an art student.
I was introduced to John by another Canadian mutual friend Ian Curruthers a songwriter, with whom I had also collaborated for material on my first album release, ‘Woman From The Warm Grass’.
Both of these artists were a major influence in my early career and I only wish they could feel my love and respect for them both.
John Lewis: Pop Muzik Publicity
John & Robin, TOTP 12th April 1979
Plattenküchen (German TV) 7 Aug 1979
John on Keyboard Top of the Pops - 1979
Robin Scott - M, Pop Muzik 1979. John Lewis top right.
On 1st January 1980 John is credited as producer, alongside Peter Kent on a version of T-Rex’s ‘Children of the Revolution’ written by the late Marc Bolan, and recorded at Electrophon by the band ‘The Fast Set’. In the same year John worked with DJ Gareth Marshallsea. Calling themselves ‘C.V.O’ they made a record called Sargaso Sea which was released on a compilation of demo’s by the same label as The Fast Set, 4AD. It was to be another 3 years before John and Gareth would ‘creatively’ come together again.
1982: Pete Townshend Album Chinese Eyes
John’s flatmate in 1979, Guitarist Pete Davies recalls John talking about doing some work for Pete Townshend of The Who. This may have been the start of John working on Townshend’s 1982 album that was recorded in 1981 - ‘All the Best Cowboys Have Chinese eyes’. John is credited on the album as “Fairlight CMI Programming” - Fairlight being a synthesiser for those like me not in the know.
And in my conversation with Brian Hodgson, he recalled John buying a Fairlight. But it showed John Lewis was fast becoming one of the few men established musicians would to turn to when it came to synthesisers.
Ever recall those moments when you get a chill down your spine and the hairs on the back of your neck stand on end. Well, that happened when I made this discovery. As any gay of my generation who hit the dance floor at G-A-Y Astoria in the late 90s may recall - ‘Thunder and Lightning’ was frequently thrown in the mix at Friday’s Camp-Attack, and John Lewis played a major part in the track.
John, Gareth and a C.PLatt are credited as ‘Writer’. In addition John as Producer and Gareth as Associate Producer. Kevin Power giving the vocals, and the record being “arranged” and “programmed” by John Lewis and recorded at the Electrophon Studio and mixed at Eel Pie Studios.
The record was released across europe and the americas with various remixes. It was re-released on compilation albums in 1985, 1990, 1997, 1998 ‘Heaven’ (a nod to London’s Gay nightclub HEAVEN), 1999 ‘Stonewall: Greatest Hits’, twice in 2001 and as recently as 2010.
John’s involvement in ‘Thunder and Lightning’ is quite possibly his last completed work before his death aged 40, on 3rd February 1985 from AIDS related complications.
In 1984 the BBC was open to commissioning outside composers for incidental music on Dr Who. Brian Hodgson, now Head of BBC Radiophonic Workshop recommended John. A music ‘demo’ was put together by John and submitted to the BBC who liked what they heard and John Lewis was commissioned to compose a score for Dr Who - Mark of the Rani. With much of the score complete John was admitted to the Middlesex Hospital with pneumonia. As John was being treated for pneumonia in the Middlesex Hospital he was told he was also HIV positive. His score was only used on the DVD release decades after his death.
John's Dr Who score (DVD release - isolated)
Brian Hodgson and John’s friends visited John while in hospital. Brian recalled John took his diagnosis relatively well as there was much chatter of a “cure” and the priority was to keep John well enough until such treatment or cure came along. HIV/AIDS antibody testing didnt come until 1985 and the attitude then was the same in 1984 where even medical professionals believed an AIDS diagnosis didnt always mean death unless it developed into what they’d term “full blown-AIDS”.
John’s close friends including Brian packed up the Electrophon studio giving the equipment a deep clean as static meant equipment collected dust. Discharged from hospital John was whisked off to a cottage called ‘Fairly’ in the small village of Midford just outside Bath, the ‘fresh air’ hoped to be beneficial. The studio was set up for John to finish the score for Dr Who, and his mother Minnie [Mickey] flew over from Canada to be with her son. John’s health quickly declined and John was admitted to Ham Green Hospital in December where he spent his final Christmas.
In January 1985 John’s condition was said to be “fairly stable” while he was cared for on the T-Ward, an AIDS isolation ward at Ham Green Hospital. However, John slipped away on 3rd February 1985 at Ham Green Hospital. His death was determined to be the result of a Pulmonary Embolism brought about by Cryptococcal meningitis. A secondary cause of death was cited as “HTVL-3 virus infection” (an earlier term for AIDS). John was cremated at Haycombe Crematorium, Bath on 12th February 1985. John’s ashes were scattered in the garden of remembrance.
John’s estate was granted probate given he had not left a will, on 23rd October 1985 to the value of £21,558 (£64,805 - BoE June 2024). John’s grant also showed he had moved up the property from the upper-ground floor, to flat D on the second floor (under the attic flat). Perhaps an indication the leasehold property had come on the market and happy at 59 Elsham Road John decided to purchase the flat with the view of making London his permanent home.
The avergae price for a two-bedroom London flat in 1985 was £32,500. The Shepherds Bush and Earls Court area had somewhat been abandoned after many of the properties were becoming expensive to maintain, dilapidated, more often derelict. Once former Bed and Breakfasts and small hotels, now virtual ghost towns given increased popularity of holiday destinations by air.
Western Daily 9 March 1985
Brian Hodgson with the Piano
LAST SEEN: 2021 stored at the Chelmsford Civic Theatre, Essex - although they have not yet responded confirming this.
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