"Boz collects guitarist Alain Whyte, who works
for Camden Council, Spencer Cobrin, who has a drum kit somewhere and who helps his father
out in the family antique shop, and Gary Day, who plays bass and lives with his father in
Neasden. They all know each other and they manage a certain harmony together,"
"In Chicago Alain sets fire to his guitar onstage; Gary smashes his bass into dust particles;
Spencer kicks his kit over; and the police line up in a side-stage loop looking for someone to
arrest"
"Tomorrow---It emerges in a sleeve on which I languish
by a swimming pool reading Variety magazine. In the background is bassist Gary Day, whom I
most certainly have nothing against, but I ask that he be chopped off because he looks like a
prop. I am told that no one knows how to take him out of the proofs (this is, after all, 1066), and
so Gary remains on the sleeve and I feel slightly silly. Art must wait."
"during this rendition of Trash,
drummer Spencer plays an entirely different song throughout. Looking all Dostoevsky in a
caped coat, Nick Kent lets loose a cold-blooded smile as the song blunders on and on and on
with nothing to save it from death. Backstage my rage is soaked in sorrow, but Spencer
displays only scorn. Weeks later, having heard a bootleg of the Paris night, Spencer now has no
choice but to confess. ‘Yes, I was playing a completely different song,’ he laughs."
"On our first recording session, Mick pushes
drummer Spencer (whom Mick tags ‘Nelson’), but Spencer is affronted and walks out of the
session – his manhood bent."
"Having left the band for better things, Spencer sends a note:
Listen luvvy, I have decided to go to drama school. I am going to Chicago as I have a
couple of interviews out there. How’s your screenplay coming along?
It would be great to see you again.
Spencer
This is a surprising communication from Spencer, because he had evidently left the band in a
huff – he did most things in a huff – giving up the drums forever"
some of many refernces in the book
